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.
有股子全境封锁的感觉，但剧情有点跳；劳米真是劳模，啥戏都接…
定位不太准确，对幼儿来说太成熟说教了，对大点的孩子来说又老套了些。2D比3D好。少些网络用语吧，有些出戏。
女主只为见女儿，被骗千里运病毒，故事情节不吸引？电影超无聊！
作为一部动画片，其实真没那么差，该有的也都有了，虎墩可爱、勇敢、机智，孩子们应该都喜欢，只是电影票确实有点贵，电脑上看看就行了。
结巴讲故事，啰嗦急了。啥都想说，磕磕巴巴一堆，好像有点内容。
给大人看，剧情单薄又刻意，又刻意搞笑夸张，让剧情有些撕裂。
怎么分数这么低，虽然我也没想给高分，看来网友还是太理性了。
除了一些战斗喝滑冰场景……其他都好尴尬……
前半段还行，同伴死的比较真实，节奏也可以，不哔哔。但后半段是换了编剧吗？不合逻辑之处包罗万象，男上司想毁病毒，烧堆小火保证煮得那病毒香喷喷，还要逃大老远去毁。后面他俩还拖时间在外面引爆？拜托，一个手榴弹炸了，啥病毒清得干干净净，啥都不留。你们究竟是想释放病毒还是毁灭病毒？
一个人的武装表演。末日，战争，生化毁灭人类。情节还是闷。
女主妥妥圣母狗！为了见到女儿不惜致数百万平民的生命于不顾，这种人该死！
漏洞多到忍无可忍 …另外 看过女主角几部影片 但实在不喜欢她那个长相
国产动画目前的情况是，制作水平参差不齐，少数顶尖的很棒，大批劣质的特差，不在一层阶梯。★☆/3.6
个人喜好属于分低但挺好看的一部，虽然结局有点悲。
剧情空背景糊细节？这是公路片不是战争片 主题？就像冰面 他们只管滑
动作和表情应该是国内翘楚，比那什么雄狮强多了，故事人设场景就不太行了。
氛围挺好。画面也不错，能感受到战争的恐怖、残酷。演员演技在线，尤其主角，演的很棒，能感受到她对女儿的爱。但是，为了女儿就可以牺牲其他人吗？向队友开枪，拼死也要把病毒带回去。当下，俄乌战争还没结束，新冠依然在肆虐。你，为了女儿就要牺牲全人类吗？最后所谓拯救在我看来不过是对欺骗的报复。欧美的价值观、情亲观可见一般，野蛮的民族！
最后我女主怎么没了？？？？又写死我女宝💢💢💢
前半段挺现实主义的，各种渲染，服化道都好；冰上潜行也有新奇效应。基地后的情景就太儿戏了，烂尾可惜。
末世救亡场景，刚建的母亲，顺畅的滑冰，还行吧！
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