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.
看了二十分钟突然发现这是一部一镜到底的军事动作电影，好家伙，这个拍摄调度可够难的，对演员的体力要求也挺高，本来剧情很简单，但鉴于这种大胆的尝试和动作设计的水准，个人觉得给7.5分，3星半。
伪一镜到底吧，但还是蛮紧张的，当然编剧还是弱了点，工具人太多了点
一镜到底的尝试不错，没有独沽动作长镜头一味，动静结合，中间换了五六个人的视点，生动而不枯燥。借高潮戏人体炸弹换了口气。剧情太经不起推敲，看似简单的押运任务因恐怖分子劫狱变成大混战的点子不错，女押运官的劝服手段和人质的心理转变太过匪夷所思。比较起来，一辆卡车运来上百劫匪挨枪子儿都不算什么大bug了。打戏以枪战为主，有点浪费阿特金斯的拳脚。
一镜到底，非常爽啊，斯科特.阿特金斯已经算动作片老将了吧，演得很卖力，打斗枪战很过瘾
westworld质感，以气候变化，全球变暖，贫富差距恶化为大时代背景下的爱情片，科幻感十足。吴彦祖中英掺杂速领便当也太搞笑了
继《1917》之后又一部伪一镜到底的影片，还是有限场景内的枪战动作片，完整记录从受袭到防御再到反击的全过程，动作较专业，打斗也真实，除开头有点慢热之外，其余时间基本无尿点。出乎意料地好看！一般像这样小格局的动作片剧情都是比较弱智狗血的，但这部片子意外地地不粗糙不空洞，很多细节的铺垫与反转都交代得清楚自洽，如那张胎儿B超影像原来竟是关键道具！阿金斯拍了一部好片，也让我们看到了他的努力和进步。希望可以看到他更多的不同尝试！
''战狼''式的个人英雄主义，剧情没什么好说的，简简单单，看点全在动作和枪战场面，全片采用一镜到底，但场景没有《1974》那么宏大，加上密集的动作戏手摇式的拍摄手法反而减弱了长镜头的观赏性，打斗片段会有眩晕感。
5.0分，最有记忆点的就是全片第一个镜头，除此之外大多内容与概念都乏善可陈。冲着休杰克曼硬撑着看完了。
相当可以，情节不新奇，但节奏很好，几乎没尿点。
动作场面太一般，阿金斯的格斗风格完全没发挥出来，不过枪战戏可圈可点，突突的干掉这么多人，好似闯关似的，倒是很爽
非要用人肉炸弹……
几个人打这么多人，保护一个罪犯以解决DC炸弹💣危机。 没什么尿点，深深吸引观众眼睛，具有紧迫感。还不错。
一向觉得无论那种摄影方式和技巧，都是服务于故事本身，一旦重点聚焦于一镜到底的动作片如何厉害，那可想而知，作品的故事本身是如何的不咋样，何况动作戏也挺拉跨的。
经典保护人质套路，亮点匮乏，枪战摄制粗糙缺写实，预算少场景难免因陋就简，长镜头肉搏可圈可点，阿金斯动作领域新成就达成
看的太爽太刺激了。全程一镜到底仿佛跟着海豹突击队身临其境经历了这场绝望的Rescue Mission。到最后Last Man Standing的那十几分钟，真的是心都要悬到嗓子眼了。
海豹小队到关押恐怖分子的基地提取一名犯人，一大堆恐怖分子突然来袭。小成本一镜片，虽然风格不是那么凌厉突出，基本没配乐，没长焦全景，视角还经常变换，拍成这样也很不容易了。瑞恩的戏份也太少了。★★★☆
剧情还是可以的，看完让我想起一句话：“又菜又爱玩”，哈哈！
剧情就是坨屎，最大的成功就是圣女婊终于挂了
但导演对于具体情节的调度能力实在太差了，没能把握住这样一个庞大的有野心的故事，对观众情绪的调动能力也不足，同时画面也缺乏想象力。大量给观众“喂”信息的台词也非常破坏电影感。
前面的动作戏还是很有战术素养的，但后半部就太假了。一敌五十，神一样的存在。
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