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.
看出来了 有在尽力为拍续集想办法 哈丁的原生家庭真的稀巴烂啊 (还有我的🧛♂️Bill怎么现在尽演些这种角色😟
这个系列一年一部，明明知道会很烂。但还是会看。。。
看到有第四部我人都傻了 这个真的有票房吗
就是为了造成“继承人没了财产没人继承于是创立kingsman”，死的太莫名其妙
我就说怎么这部除了男女主之外的人物我都不认识了，原来是除了男女主都换人演了……经过了前两部，我到底还在期待什么？
我兑现了在第二部的诺言，来看了第三部。烂得一如既往，就是没有烂到好笑的那种地步，所以还挺让我失望的（？？？）。现在突然特别想去回顾第二部，2简直就是烂之顶峰，好笑到令人难以招架的程度。就这破玩意儿还to be continued呢，把话撂在这儿，要是有4我一定还看。
能看睡也是没谁了，导演你是玩嗨了，考虑过观众的感受了么？！最好的是第一部，至今记忆犹新！
壕溝夜襲為了避免召集槍火而雙方進行白刃肉搏以及帶隊情報官為了救下新兵甘願動用轉輪而招惹MG火力被打成篩子犧牲是比較出彩的部分。
没什么可说的，唯一的优点在于逼我去补了补一战史【感谢up主有机社会】和亚瑟王传说【油管搜索亚瑟王的传奇一生】的课，另外学会了union jack指的是英国国旗。
再好的视觉效果也拯救不了这破剧本 你们是特工啊不是复联 跪求导演找个好剧本继续拍这系列啊 荒诞及视觉太符合我的审美了
求求你们美国人整点自己的历史吧，别天天意淫别的国家了。
1420【谷阿莫】全因她下面癢，想找人幫忙止癢而引發的慘案2021《親友皆死》#暖冬电影季##金牌解说#
一战或二战的战争场景出现在特工类电影里并不奇怪，不过能如此高质与好看，就殊为不易了。本片主要讲述了特工组织的起源，对于背景的处理，应是采取了戏说事实的办法，列宁与希特勒的会面，将会上演怎样的故事？
是打算拍成暮光之城路线？这破玩意儿整四部我也是服了。PS：一边吐槽一边舔男主屏的是我。- -
现实中真实存在的矫揉造作和超乎想象的狗血剧情
hhhh救命，看了又好像没看，整个一流水账，里面有些剧情莫名其妙的，好在颜值尚可打发时间不想费脑子可看
我怎么会看到第三部的！！这一部的尺度场面变多也变呆板了，男女主丝毫没有荷尔蒙火花。本来剧情就和狗屎一样，还要拿父母的故事凑时长。
OMG 竟然还有续集 这部感觉比2好一点点吧 但真的还是太狗血啦 多一星给男女主的颜值叭
Hardin是专门用来给Tessa添堵的吗😅控制欲太强了吧😅这都不分手我不理解😅剧情越来越狗血，合理怀疑这系列拍到现在就是为了让他俩每次doi都解锁一个新场景…（srds他们颜值好高我好爱）
无法想象可以被称之为电影🚬和舍友去看的 舍友的评论比电影好看（She said: they add some sex to make it spicy, but the SEX is not spicy!)
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