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.
看了毒液1之后专程来看毒液2，讲真的毒液真的还蛮可爱的，尤其是那个大舌头舔来舔去的，男主也很给力，延续了第一部的精彩
历史上黑人在那个时期要敢这么玩，全得被逮起来吊上晒成干……
当某种恶趣味丧失新奇感之后，重复就会变成无厘头式的尴尬。
说实话，拍的不赖，能看出导演是个很熟悉西部片的人，而且其中大量剪辑和镜头很有致敬昆丁的意思
好基友，一生一起走！下一步要大战蜘蛛侠了？
作为一部西部片画面质量有些廉价了，这剧本感觉能拍更好些。
那么多角色，我都记住了，风格很鲜明，很用心的一部西部片
情节一般，但配乐太棒了，十几首不停呵，所以给四星。坐视听室，把音量开足，真享受。
别被评分骗了 绝对值7.5往上 近期几部电影里面这一部绝对最好看
甚至看到最后我也不知道俩人到底分没分。。。。。。
有一句台词好喜欢：
情节一般，但配乐太棒了，十几首不停呵，所以给四星。坐视听室，把音量开足，真享受。
跨种族爱情片！毒液真是漫威第一小可爱🥰🥰🥰
问题很现实，但是这剧情也没啥参考价值啊
虽然毫无现实意义但这种老套剧情我还是🉑的
这种随意老古董的我不喜欢，对于女主除了颜值没一点看得上。
break up is never easy
毒液和艾迪的相处日常+常规打斗，片长倒是挺友好，可能是知道自己乏善可陈。彩蛋这是要联动了，期待下。
美式青春片，无功无过，不褒不贬，偶尔需要为生活加点甜的时候可以看。
再也不相信这些蠢比豆瓣文艺青年的打分了，在我这堪比美国版的让子弹飞
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