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.
看郑佳映的作品可能最合适的描述就是敞亮，今年最惊喜的发现了。
草根理智的主题虽然很普通，但作为传记电影算的上好片。
完全因为最近对孙锡久的疯狂迷恋以及刚刚获得的百想电影剧本奖（获奖好意外），不算太有新意的片子，轻松喜剧，快进看完。女主状态放松而且拍的很美，男主次之，导演稍弱。
题材有点新奇，但还是有点意思，不过最重要还是得人好看~
全演员脑残粉 性格酷爽 灵魂有趣 生活不腻。 这是成人约炮宣传片吧？但首先也得有女主的境界 才有机率遇到可以携手的对象，因为现实世界杀猪盘估计占比居多。
哎，還是那句話，只是在電影中的情節而已。
6.5分，在全球都在打拳的情况下，好久没有一部轻松的爱情片了，而且是从女生的心理与生理为出发点的，再结合当下的社交软件与自媒体撰稿，年轻导演可以学学结合形式，但电影整体的电影感还是差的。全钟瑞戏路真的开了，男主也属于有荷尔蒙的一位演员。
励志故事都那样，
很喜欢，看着很舒服观影体验很不错，不过作为性主题还是清淡有余。本来性与爱就无法分开谈论。孙锡久全钟瑞我都太喜欢了。
可是怎么会上头之后才发现已经把他演过的东西基本都看过了，救命啊没有售后了我真的会谢🥀
还行…emmm然后就没什么额外的感觉了…不过男女主颜还是好看的
视障孩子唱歌还是很感人的
How could this be 孙锡久太上头了
当下新概念+套路爱情故事的典型做法，聚焦交友软件盛行之际的恋爱观，一个为了写专栏而SEX的男人，一个受过伤而享受SEX的女人，由性到爱的浪漫史。亮点是概念及几场高光的对话戏，缺点在于感情的建置太匆匆，不可信。
剧情一般。但孙锡久真的好奶啊，太喜欢了😄😄😄全钟瑞不愧是电影咖，力度到位👍👍
两个极度渴望亲密关系的寂寞可怜人遇到彼此像抓住救命稻草，没有感受到心动，可能真的是爱情缺席的爱情片。全钟瑞此片造型不太适合她，不然单欣赏美女就可以给三星以上。
略神棍, 但主旋律鸡汤及格了, 直给的爱妻傻大个沙赞谁不爱呢
看姐电影爱姐一次 偷名册有点太损 结尾蛮符合女主性格的 主人公配角龙套都当当才更是真实的人生吧
你说它是性喜剧吧，可以说根本没有露骨镜头，那就欣赏下对话，却水到如此接地气，令观众满心期待最后撞见阳痿的心离场。段位跟李炳宪导演比还是差太多太多。
2022#2部电影：女主太酷了，洒脱不羁！为了孙锡久来的，该说不说，看得心满意足嘿嘿嘿嘿，多一颗星给他（不过前期写专栏这事是真的混蛋）
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