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.
手机流量有点多 浪费着玩 没念过书才打三星和三星以上。
草蛇灰线的伏笔埋设与回收，一如既往的熟悉反转配方，还有N多打开记忆闸门的熟悉面庞～赞👍接下来，就是异物志和邵庄篇了～加油，有生之年系列
差不多4星吧，但是情怀5星，不要问，问就是傲娇
缺点还是很多，但能看到肉眼可见的快速进步。国际庄孕育出的毛骗，未来可期。奖励一颗星。话说，这个片子幕后投资人是石家庄出租车协会吗！
主演: 邵庄 / 杨羽 / 耿晓辉 / 王辰昊 / 安宁 / 邢冬冬 / 王冬 / 车志刚 / 大牛 / 王秀月 / 包志强 / 周扬帆
将网剧所有缺点都暴露的一览无余。故作搞笑的段子，尴尬浮夸的演技，脱离现实的现实感。网剧可以通过拉长情节来稀释疏离感，但是电影剧情太短看着就是跳脱与闹腾。终究所有的包袱和桥段都服务于一个过于肤浅的艺术创作。对比同类型疯狂的石头，只能说优映前路还长。
“抢劫一晚上就是不报警系列”
貌似也有点优映世界的味儿，现实与创作互相联系，夹杂着小彩蛋也蛮惊喜的。整个剧本蛮完整，演员也都很自然。故事推动、戏剧冲突都顶满了。甚至有点喜欢网吧老板这角色，相当有原则！俩人最离谱的点没有讨论清楚，倒是个迷惑的点，为什么发小就能因为一件事就掰了，为什么好好的大学就不上了，港清楚应该更加完整些。喜欢包哥带领出租车群拦截的戏段，又搞笑又温情。继续啊！只拍不播赶紧变身边拍边播！
这部的确有点粗制滥造了，拍电影和拍电视剧的确不是一回事，各位主创从编剧到演技都略显幼稚，甚至不如当年青涩时期的表现。不过从一个网大的角度来看，也还算可以吧。三星半！
看这片的肯定都是老粉了 但是不足之处在于演员没有突破 还是原来演什么角色 现在还在演什么角色 看了半天好像是旧剧的衍生品
着实是属于本仙宝cp粉过年了！！！荒诞闹剧在接通电台广播的一瞬间推向高峰！绝境之处一堆人出来相助的桥段真的百看不厌~
所有的网络电影份额都给你们团队留着，继续加油吧。
鼓励年轻团队，最好让他们挣到钱，才有更好的作品，加油。
讨债小分队真的太好笑了，剧情比较平淡，低配杀不死
多线叙事最后汇聚一堂，是毛骗团队的一贯风格了，期待能上院线大电影！
剧里几个老面孔看到还是会会心一笑。
结构的拆解和组合很有想法，但每每在一些小细节上欠缺力度，距离电影感始终差一步。
创意很像疯狂的石头和两杆大烟枪。。。穿帮镜头是男主2014年考上南复大学，但因游戏被退学，结果家里墙上的那么多奖状里竟然有2017年高中的奖状。。。
人物开场的逻辑有点立不住，不过还能看下去。
还可以，虽说剧情稍显平淡，但是看着挺欢乐温馨的。
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