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.
开篇即拉胯，顶着噬谎者的名号就和人家这么简单就赌了？就花两千万请了一架私人小飞机就敢和人家玩命去？基本上全片除了赌弹珠那里之外都看不到主角有什么事先安排，都是一靠运气二靠临场发挥，不过最后的抽王八拍的还是蛮紧张的。那么大个科学家死的有点可惜了。
片子看起来还蛮有钱的，拿这个钱做慈善不好吗？充斥着杰克苏要素，剧情无脑又可笑。多亏小伙伴的细心，最后全程的关注点是男主吃的什么小零食能发出咔哧咔哧的脆响？
每个故事都很平庸；好的恐怖片太少；美女真多
- =͟͟͞͞ =͟͟͞͞ ﾍ( ´Д`)ﾉ横滨流星帅炸了！！！我从写真集开始就爱白毛流星！！！流星和本乡奏多再共演仿佛再续前缘。同类型我看了挺多的，缺乏一些斗牌那种紧张感，游戏设置没有那么烧脑，并且有点中二。三浦翔平演的这个盲人，本来我还挺希望他们会平局和男主一起为了世界和平联手揭穿大当家。白石麻衣的兰子爱而不得哈哈哈。嘛，不妨碍我爱他们(♡ ὅ ◡ ὅ )ʃ♡
横滨流星 真帅 就是个子太矮了
中规中矩的漫改片，横滨弟弟不愧是空手道冠军出身，应该多拍拍动作戏👌🏻
没什么好故事了 只能随便攒巴攒巴骗我打瞌睡
一般般，部分片段有些恐怖
微博抖音一堆推送，看来都是炒作了，浪费了人生的1个多小时
本片唯一的匠心用在如何让尸体变得更恶心上头了。
白期待了，完全不吓人，非常套路，看得我只想冷笑。
剧情还是蛮好看的。就是我以为最后会与大当家一战，没想到全片的高潮是与科学家的那一战。
看来这种随便翻翻书找个恶灵邪魔降世或者附体，然后弄死几个不作死就不会死不好奇就不会死的龙套，再被主角弄死的类型片还能拍一阵子，看着书都挺厚的。
太中二了，剧情也很无聊，要不是白毛流星这么帅，打酱油的大当家也挺美，真的看不下去，话说这两人最后一幕也太有x张力了吧，嗑上了
除了最后一个密室逃脱有点意思，可惜感觉还没到高潮呢就没了？？虎头蛇尾。。
还可以，各种装b，赌徒人手恐怖分子标配一把枪，真不当命是命输了就上吊?这种赌博类型的片子能让人看下去就算ok。除了最终boss战情节有点弱不够高潮。
浪费了颜值，编剧太拉垮。每个开头都让人脑补十个剧情....最后就这？
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《嗜睡者》。配角们也很要命，把横滨流星的演技衬托得仿佛都没那么糟糕了。
3、丧尸牙虫，寄生传染
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