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.
力求政治正確的青少年同志片，立意良善但故事說教連連，飾演女同志的女主角們各個都是直女臉，反而女主男閨蜜是直男卻姊妹味十足，選角詭異。女主無論對姊或妹都無CP火花，雖然一直營造浪漫氛圍但只覺得越看越尷尬...
一般般吧 就.....有点像女版的那个同性片，忘了名字，好像叫爱你，啥啥来着？
I can enjoy it without thinking. Forget about the holy shit reality! 是文化差异导致的审美取向不同么？AJ感觉在东亚地区会更受欢迎。
姬仔青春片 虽然没啥剧情颜值欠佳 但很可爱很甜 太羡慕女主有位有趣妈妈和好兄弟啦 看完感觉自己减龄十岁×
这才几天，一部电影三个名字……爱之彩……心烦意乱……悸动……
很好看啊 哈哈 这就是美国的青春烂片把 不过够热闹
因为lgbt题材看的，和爱你西蒙有点像，很轻松欢快的氛围，但是剧情演技有点拉。
简简单单的酷儿校园爱情电影
百合电影终于不再是哀苦悲剧迎来甜甜校园爱情了|∀` )
又甜又开心，看个片干嘛还要苦大仇深，开心就完事啦（PS，女主的打光让颜值总在仙女和路人直接横跳）
糖水姬片，所有人都仿佛活在真空中，不过也蛮可爱的，片中涂鸦很有趣。
4.女主就是很甜蜜可爱
啊啊啊恋爱以后真的让人气质都变啦！姨母笑看完！看到喜欢的人会喷出彩色的烟雾加上慢镜头特效 真的好可爱！
周末了 吃点无脑糖水 又是一开头就猜到结尾系列
加州甜妹的亲情，爱情与友情
Maybe she's just gabby for me. I wish.😢
烂尾。最后公开在台上谈心、kiss的情节怎么看怎么突兀，结尾女主自白又扯到"be yourself"上了。
在這裡我是豆腐腦開心看她們談戀愛不用多想什麼就懂得的拉子圈內梗
3.5看主题进位系列。所以最后姐姐和女巫在一起了吗啊哈哈。很老套的校园我爱你你爱她故事，也是很老套的总有一个人会回过头来发现这个一直爱着她的人everybody圆满大结局。但现实生活中通常是你无论如何都放不下喜欢的人并且也没有人喜欢你。无论如何，好喜欢这部电影明媚的阳光色彩！感觉每个人都在散发自己的魅力。
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