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.
可能我不懂基督教，所以我看不出来哪里恐怖？
设定还挺新颖
我的生活中还是需要这种偶像剧一样的电影的。我是土狗，我爱看。
高开低走，神父驱逐恶魔，恶魔驱逐上帝，给反过来了，脑洞虽好，但是后面怎么看怎么像恐怖恶搞，但但是还是很新颖的，3星及格没问题。
让我这个无宗教信仰的人都惊掉下巴！
好久没看这种片子了 电梯和酒店那两段看得我….
有点老套，请问最后意思是上帝把人间交给恶魔？
干嘛请上帝驱魔？还得守什么清规戒律，直接找包龙星来不更狠吗？直接吵到魔鬼怀疑地狱
邪恶的人不能继承上帝的国度，但能继承人的国度…
译名不对味，预告片比实际内容紧张刺激
明显味道很浓，编的不落俗套。完全可以一看，属于合格以上的恐怖片了
本来也是烂片，但是有些泰迪能不能时时刻刻都来污染眼睛啊？随时随地都在发情？色情狂吗？真是晦气
驱魔流程的地狱反套路，信念到底有没有底限，一窥而知。
只记住了开头那段非常se qing的驱魔……
剧情还能更狗血吗，毫无逻辑，反转感觉和顶楼有得一拼，不知道从哪里开始吐槽好。为女主的演技进步加一星（美少女的谎言的时候真的演技出戏），也可能是男主的衬托。
最后恶魔附身后实在是太丑了，简直不忍直视，眼镜被摧残一小时后，最后看到牧师恢复正常的女儿，竟然真有了天使下凡的感觉！
哪怕改一个情节就可以不用那么那么俗气的 但仍旧这么俗气地完成了
女主扯下男主的浴巾之后“哇哦”，真是幸福呢。
硬是把驱魔片拍成了丧尸片。全片最精彩的地方就在于最后的驱魔part，居然是魔鬼驱上帝。
外国驱鬼也太方便了，念念有词就行。我要是鬼，第一下就去割掉他的舌头。
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