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.
作为网大来说已经不错了，没想到齐冬草这么猛。
全员用力过猛，台词矫揉造作，尴尬至极。
瞎子、枪战、犯罪、救女儿、暗网、人贩、女杀手的复仇，敌人的敌人就是朋友，让父亲沉静的女儿的音乐，完美的剧本实在太少，这些出色的元素加在一起也不枉安志杰做一回硬汉男主角
劇情很差，故事延續性不好，大人覺得無趣，小孩子看不懂
把噱头这事搞好也算挺有本事，但坏人都非要用哈气音讲狠话，一下子就让逼格很低
虽然没太大的惊喜，毕竟这类电影太多了，但还是觉得挺不错，算是烧过钱的电影。
哈哈哈哈笑死了菲拉萌真的好可爱哦，我抱起来就是一个亲亲和串串( ˝ᗢ̈˝ )不过妹妹虽然很乐观也很厉害很幸运，最后也挺喜欢她的，但是太熊了真的。
这种种伏笔让人非常期待第二部的解密，虽然我根本不想再看第二部了……
这动作场面连杰哥都带不动，尴尬到家…那几个变态演的，变态看了都害怕吧…剧情？这真实存在的吗？
大陆的动画开始走向了两个方向，一个是重工业的各类传统IP改编作品，一类是国内资本+国外主创团队
某些桥段又山寨又装逼，看到汉尼拔面具时，再也忍不住了！
如果把出品方换成网飞，那评分肯定8.0往上。
希娜在冒充警察被东谷按在车上的时候，就知道他是疯婆子了。
这部儿童电影一定有一定的内涵，但是我的言语描述不出来
妹子最后应该跟瞎子在一起，哈哈，妹子有前途，剧本还可以再打磨打磨。
还行吧，这种动作犯罪类题材，只能做到这样了，血腥暴力的画面是不允许存在的，毕竟我国体制不同，注定了只能拍些剧情片，除非宣扬正义的战争题材才允许血腥暴力的刻画。
故事简单明了，就是正常故事讲述，情节没有太大起伏，狗狗变坏有点出乎意料。哥哥和妹妹一起冒险，还挺有趣，三分之二处升华——怎么才能让菲拉萌们接纳我，喜欢我，到现在我才真正明白，最重要的就是跟你在一起，一起全力以赴。
比较轻松愉快的电影，让我比较心疼的是白颂德的经历，如果人们对某件事情有过多的偏好，而社会又忽视另一方，可能就会导致不公和心理阴暗。像白颂德这样，没有菲拉萌的世界他才能活，才能避免被免费的赠送，那更多的是社会要关注的问题。而且菲拉萌仅仅是因为可爱就获得很多喜爱，有点像鼓励当下追求容貌的环境，如果可以体现多一些菲拉萌的努力和优势，立意会更好。
高配网大，女主人设不落窠臼，就是剪辑有点乱，情绪不顺畅，不过在网大界绝对物有所值，没有浪费时间。
及其推荐，非常适合小朋友或者一家观看，老少皆宜，除了对汪星人有些黑化其他很好，剧情也很舒服，画面质量很高
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