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.
就一很普通的圣诞喜剧电影，只不过里面全员嗑男男CP。
轻松欢乐，合家欢爆米花电影，不必太纠结剧情什么的，开开心心看个圣诞欢乐电影而已。
爆米花电影该有的样子都有了，就够了，还想要啥？圣诞节不就是要开开心心快快乐乐嘛，难道要哭哭啼啼不行？
好烂…总算知道看的那些无脑甜文翻拍成电影是什么样了
爱有时需要别人推一把，九年友谊还是变了爱情
Again, cheesy but I love it
老套的圣诞爱情故事，Nick我真的好想占有他，太完美了
Corny as predicted but still enjoyed it...
一部圣诞档电影。虽说老外很少分型号，但是这个室友变情侣这个设定真的十分危险，害我一直在想天打雷劈的感觉。
Christmas film 就别挑太多剧情硬伤啦，总之看得挺开心的🎉
帅哥好养眼，至于剧情，就像是看了一期《粉雄救兵》。
基版《我可能不会爱你》，American gay man回家过节会被逼介绍对象我也是想不到🤣影片剧情还算不错，笑点和感动都有不错的效果。
不要强行姐妹变男友好吗，Nick明明跟健身教练之间更有chemistry🙄️
开头就看到了结局，也不妨碍我磕糖，看得上头。圣诞节就是合家欢浪漫的节日才对。
俗套的基佬爱情片，又是选择了好友却抛弃了帅气相亲运动男
其乐融融的家庭，美满的爱情，无限美好的生活。
Give me more Michael Urie!!!
为了男神卢克和迈克尔多打一星吧！故事情节流畅，双男主形式还可以，又是一波单身狗粮！
就很无脑甜。and Nick is really a ten!
沙发土豆杀时间的片子。
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