The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
离谱。但开头很好，因为他还深爱vesper.
嗯，就硬死！不敢说这是最好的007，只想说蓝眼睛们都好好活着行吗……（不希望007走这种路线，虽然没机会了）
古城上天入地飞摩托肉搏driveby围剿，老兵新丁喝酒杀人鸳鸯火药探戈，碰碰车漫天翻丛林雾战缆绳多用，三场动作大戏设计都颇为有趣，然后估计拍摄档期撞到疫情没精力琢磨了，结尾高潮日式毒花园是蠢到真的有毒，完全对不起谢幕作之称；福永导演史最差作？007终于轮到长相身材都很难被男性凝视物化的女黑人来演了，像kinder出奇蛋一样一次过满足晒三个愿望 : )
克雷格平淡无味的告别仪式，没想到被扮猪吃老虎的古巴女特工抢了风头。这个角色大概是临时救场的菲编贡献的，相当Killing Eve。
当然了，类似的内容007拍得更高级一点。
还行吧，每一步都一样的结局，男主打不死的小强，搞不完的邦女郎
很遗憾用这种平庸的方式结束这系列。。。这十几年像是看了一部克雷格和蕾雅赛杜主演的连续剧。
新旧对立，为007说再见。剧情有些扯，节奏还是很好的。
邦德有女儿这个设定真的很难接受。。。他是孤寂一生的独狼设定啊。。。还是说以后的007是准备要排女生上场了铺垫一下？
英伦特工谍战版再见爱人，丹尼尔·克雷格即使老了还是那么可，想吃的～
片头主题曲好评，memento mori氛围传达得很赞，很适合代餐各种生离死别的同类cp墙头。中间几次串场到维伦纽瓦，一看原声汉斯季默，没想到007居然还能和银翼杀手2049共享原声集。之前邦德都是帅信男实在get不到魅力，这回他【 】还【 】了突然就觉得魅力爆炸，也是妹想到在最后一部男邦德电影里感受一回邦德梦女的心情，堪比49年入国军。2021年了还能在欧美主流商业片里看到带（阴）感（间）日系美学我作为曾经的精日都感动了，敢让自己的母国文化成为反派的style，咱啥时候能有这文化自信。至于普遍批评为雷声大雨点小的反派，可以和漫威泽莫联谊嘛，这年头虐主角而不是征服世界的经典反派多难找。值得一提的是女性角色们，正好代表了邦德电影里邦女郎们演化过程：爱慕者，辅助者，继任者。女邦德身材健美年轻冷酷雄心勃勃，世界曾是他的，现在是你的了
草率了啊。明明是No reason to die。分不打了，毕竟是我最喜欢的邦德。
事实上，整个电影史都是一个S&M的幻想史，好像我们的主角不经历点磨难，就成不了主角一样。
现在的电影都咋回事，俩小时以内整不明白吗是咋滴？？。。（近10天最英明的决定就是imax二刷了沙丘 这周开始imax全排给007了。。人生苦短，及时行乐，no time to die!）
利落的台词、刺激的打戏、优秀的摄影，单独拿出来看它是一部成熟的商业片，然而从它背起这系列编剧沉重包袱那一刻起它就注定要输了，所以我也不求完美，只求好聚好散。丹叔实在不适合演儿女情长，至今没搞懂为啥真爱非蕾雅不可，跟邦德对戏全靠喘，镜头前的自然亲密感远逊伊娃格林。反派又是本系列里已用三次的邪恶组织套娃，生化武器强到逆天也斗不过主角光环，浪费拉米小帅哥了。然而布景审美真好，苏维埃中世纪现代混搭日式枯山水的蔷薇园林我点一万个赞。
IMAX@丹尼尔·克雷格可见的苍老，有点心疼，眼睁睁一个老头被迫延迟退休的衰样。画面打斗，最佳段落都在IMAX预告片内，正片已无亮点。007文戏如果不能提高，甚至说动作戏也不怎么出彩，下一任如何是好啊。
3.导演凯瑞·乔治·福永把本片打造成了惊悚（恐怖）片。
原本对007的终结无感，只是彻底拜倒在古巴特工Paloma的石榴裙下，无意间想起Paloma对邦德说的最后一句话，“下回来古巴一定要多待两天。” 突然意识到，他再也没有机会去了，顿时泪目。
007系列在每个年代都有不一样的定位 当前系列其实想把它做成帝国（主义）怀旧与哀叹，借助极具设计感的抽象影像实验片头（也是片子里集成流行音乐、象征符号、与时代精神、同时也最具商业化特征的段落）来打造一种带有奢侈品质感的大众快消产品。克雷格的冷峻既标识了英帝国自认独特于美帝的傲气也成为其努力在超英时代恰饭的卖点，从布鲁斯南的一切尽在掌握中到克雷格的尚能饭否 自嘲式的内容被写成民族哀歌并包装出售。最讽刺的是每每塑造出反人类反派却全然不谈英美自己就是反人类反派的事实。不过007可能确实是当下少数还有实景特技表演的主流大片了
这是没故事可写了吗？美术和摄影还不错，但也掩盖不了故事的无聊，一切都太刻意，甚至都有点做作了，每一步都像是为了告别丹尼尔而作的剧情。大家去看007就是想在两小时中代入这种绝对主角身份 从枪雨弹林中走出 身上的西装和发型还一丝不乱的绝对有型 是要看他在与邪恶敌人周旋中还与众美人调情但片叶不沾身的潇洒 谁要看这种婆婆妈妈的琼瑶戏….
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