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.
游戏里的移形换位操作秀一脸，导演看来也是个高玩，观众是游戏迷的话会加不少分，游戏外处理的就比较平庸了，尤其女队员的感情线太生硬，儿子表现的还不错，笑点泪点都传达出来了。
主角不好看了
虽然爱不是万能的，但是一段稳定的恋爱关系是真的有用
剧场版没有下巴阴影了，但是经费真的肉眼可见的不足，有舞蹈元素的剧场版，经费不足真的很致命啊……另外副cp设定有点戳萌点，请第二季尽快提上日程好吗！
某一个特定的年龄独有的慌乱和迷茫，讲了一个很简单的故事，用不性化不男凝的方式
真是热情如火的西班牙，甜蜜的爱情，痛苦并快乐着。
在居家暑假里一个被辣椒辣肿手指的下午，遇见了这部电影。jojo真的遇到好人，前炮 友和女友都是很好的人，居然有被这部片子治愈到，jo的勇敢好上头啊。无论遇到什么的一堆破事，也要勇敢生活，去爱自己爱别人。
啊….除了主线其他都很好，速水奖！！！不想画肏可以不画（救命呀）…跳完舞怎么喘成这样跟游了八百米一样腿还软了，高人不应该这样走过去的啊…阿就怎么路子这么野，旁边没人吗，高人同意吗啊啊…突然就救赎了准太是这个设定吗啊啊…边看边叫
Audrey是什么天使，但这电影看得我都要躁狂了，还是其实我根本承受不了这样的焦虑，看着一个人是怎样滑向自我毁灭，体内的化学物质如何让她崩溃。还有，如果她走不出这样的现状呢，是一开始就被她的紧张局促吸引吗
另：
其次，女二对女主的爱毫无来由，女主一直在断药和家庭困境之间疲于奔命，没有表现出任何能吸引人爱意的特质。出场时永远像一只被汽车大灯直射的鹿，神情慌乱、六神无主、焦躁不安，看的时候几次停下来透气。
该死，还真不错，剧本演技特效居然都可圈可点，网络大电影崛起了啊
还不错的网络电影，拍摄和画面都还不错，决赛的三场比赛欲扬先抑跌宕起伏。反转情节还不错，意向中的主角会赢，却还是吊起了胃口。
虽有一定的剧情硬伤，故事也是俗套的屌丝逆袭，感情线部分也略有拖沓，但无碍它作为一部给吃鸡玩家的献礼片。
6/10。西条高人果然是受中极品，那个小蛮腰谁不想掐住啊~~两场床戏是唯一值得反复观看的片段。西班牙风情只展露了冰山一角，两人感情也怪怪的，不甘心被比下去就不告诉对方出国，我不懂这种爱情欸。
治愈的青春女女片，女二太好的，完全是女主生活的一道光啊，难怪爱上啊，片尾点题了，是电影片名的出处
容易被片名耽误的清新青春爱情与救赎电影，原来挣扎在贫困线上的北欧人民生活也不容易啊。
音乐很棒，忽闪的光点和游泳情节都挺不错。但成品不止一般，而是有点烂俗了。
其实我与高人的性格很像
小时候的东谷准太hin可爱！高人，你知道你对于准太的意义吗(*σ´∀`)σ西条高人明白了戒指内圈的文字含义，给准太也刻了一个，真是又甜又可爱！
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