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.
现代app恋情的当头棒喝。不过最后有点甜。啊我真是该死的恋爱脑。
約會APP被騙反倒找到了真愛，period。
昨天回家太困了，就想看部轻松的爱情片让自己甜一下，然后又看到是Jimmy Yang演的就果断点开了。里面好几个瞬间都被Josh哥哥的温柔给撩到了，这种Don‘t worry. I got you的温柔，就特别安抚我无处安放的焦虑，soooo grounding。虽然电影这个be the real you的主旨毫无惊喜，但是当这个不完美的忐忑的Josh被看到被认可的时候，我还是禁不住流了几滴眼泪。大概也是渴望这个不完美的自己不用再躲藏了吧。
一开始就是当下饭轻喜剧看的结果最后纸板子出现直接泪奔了（。
中规中矩的圣诞电影。但是好莱坞是没有好看的亚裔面孔了吗。还有女人的不幸从同情男人开始，如果你发现网恋对象是照骗，赶紧跑。
20211106就是那种很套路的爱情电影，不过看着也还好，美女配个长相一般，不高大威猛的男有问题吗？人家起码有话可聊
平安夜看圣诞电影，正合适。好可爱好暖心，圣诞正合适的一点点drama和cliche都恰到好处
再怎么心灵契合但美女配挫男这种事看着还是很不爽……妮娜还是美。达伦大帅哥完全工具人
笑死，整个就是看之前觉得荒谬看的时候觉得荒谬看完了依然觉得荒谬的一部！！但是俗话说得好有没对人家有过高的期待就不存在受伤，轻松愉快边看边吃饭了一番。
一个三代亚裔脸的纯阿米里卡家庭，亚裔奶奶在饭桌说着白人儿媳都觉得不合适的sex话题、全家狂热爱好一切美国传统节日：布置夸张万圣节及圣诞节装饰、全家上街合唱圣诞歌、制作姜饼屋……对于这样狂热的皈依者，剧情给这家的三位男成员各配了一个白人大美妞伴侣。恭喜亚男终于享受到了好莱坞撑政治正确、反种族歧视的阶段性成果！！（另我就是yygq好莱坞，但不延展到其中的任何一位演员本身，请勿以此来杠）
不报期待反而觉得很疗愈，属于非常合格的圣诞电影了。Jimmy虽然一向接类似的角色，但看起来一点都不讨厌，就着实是一种成功。
欧阳万成就是米国人专门挖掘出来做雅洲男小丑代言人吧
虽然结局完全不现实，但是Jimmy演的还不错
爆米花电影，好莱坞华人面孔太少了，出现一个眯眯眼镜男还挺新鲜的。
全员小黄男+白女的配置，小黄男的崛起。。。
Love Actually和Die Hard哈哈哈哈哈～岑永康演了一个大傻子
很套路的爱情故事，不过不求没啥亮点本来可以打三星，但是真的很讨厌好莱坞难得少数几次找亚裔当男主都找不帅又矮的，明明有很多身材高大相貌堂堂的亚裔男演员
cute但是抱歉真的看不了jimmy o yang的吻戏lol
約會APP被騙反倒找到了真愛，period。
Netflix流水线电影overdose的一天。
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