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.
挺好看的电影，但是这个电影核心问题不是含腾量少，而且含韩量少，要么后面有很多人改他的作品，要么就是过于隐喻了。电影表达有些氤氲，但其中少年青年的放纵自由最终还是被现实的巨轮碾压，剩下很多无奈与妥协。
另外 大年初一真的不适合让人进影院看车祸😅😅😅估计这也是差评的原因之一吧
最后的死刑 看的脊背发凉。东德的情报员卷入一起害死自己发小的谍案，受不了内心折磨想叛逃，失败后被判死刑秘密枪决。完全没有谍战片的紧张悬疑，很平静的把事情讲述清楚，最后毫无预兆的向脑后射出了子弹。平静，才更恐怖，因为周围所有人都觉得理所应当。只有当事人承担了人性良知的所有压力和结果。时代的一粒沙，落在个人的头上就是一座山，如果时代落下了一座山。。。
完结篇抛开二次元与现实的观感差距以外，其实在剧情的设计上已经很接近动画了，最后的结局比原作漫画设计的更好，众所周知，这个系列的原作漫画目前所更新的剧情已经引起了广大观众的吐槽与抱怨，就最近更新的漫画剧情来看，赤坂真的是在给观众喂shi，原作白银下跪求婚、辉夜父亲戴绿帽这种剧情没有十年脑血栓应该画不出来，所以从这个角度来看，这部完结篇在剧情方面确实设计的比原作更好。PS：B站正版的翻译真是有毒，“喜欢”翻译成“欣赏”，“心意”翻译成“礼物”，为了过审还真是煞费苦心，观众付钱是为了看正版，但最终看的是加工后的二手货，有些不正确的字幕让剧情都变得很违和，这大概就是正版受害者吧...
其实和上集是半斤八两，这个书记我真觉得有点不合适...
3.5/5 比第一部放的更開在玩，置入《av帝王》、《我是大哥大》、《魯邦的女兒》、《不可能的任務》..元素，第一集改編動畫版第一季以及第二季前篇，第二集改編第二季後篇《石上真男人篇》以及即將開播的第三季主軸《奉心祭篇》，對於還沒看過漫畫還在苦苦等待第三季開播的我來說，看了這部也是提早知道奉心祭的主要內容發展，最後真的是被浪漫到了，被白銀會長精心設計的告白甜的不要不要，到了第二部編導也比較放的開了，伊井野的選角找日向坂新人影山優佳演，完全可以！片尾跑字幕放主題曲學月薪嬌妻全員來一段滑稽熱舞，足夠歡樂足夠好玩，基本上兩部水平都差不多，但第二部明顯再好一點點，石上真男人篇可惜改動了點劇情，沒有讓以前的初戀回來（可能怕太黑暗吧），總結來說堪看，大銀幕看環奈的美顏是享受，環奈是輝夜姬的不二人選😌
就是说 再看不到平野紫耀上剧的话 我的一些 就是比如说我的容貌我的身材 还有我的社交的礼仪 还有美好的品德 美好的性格甚至灵魂都会被毁了
在这样一个非常有机会出彩故事主题下，拍出这样乏味的影片，在品质一向有保障的德国电影里，只能算是失望之作。男主思想发生改变的动机显得如此的不足，试图把叛逃的足球运动员朗菲尔德带回东德、作为一个科学家如何成为一个合格的特工、在西德如何出生入死…都可以做的扣人心弦，把人物塑造的更丰满更有说服力的情节，全部缺乏应有的紧张感，太多废笔放在铺陈压力巨大如何寻求情感的宣泄。谴责斯塔西及极权对人民管控的预设主题先置，过于影响了影片正常的叙事；频繁的倒叙插叙，倒像是炫耀导演技巧，对影片几乎毫无帮助。整部电影像是一部被命题的学生作业。
hd 笑死我了 插入了一小段尾崎丰《I LOVE YOU》
对原作的还原度不如第一部，运动会和奉心祭拍的和流水账一样。弥子性格完全改掉了，明明是一板一眼的智慧型女生，被改的和书记一样蠢。结尾是唯一的亮点，比原作奉心祭后一泻千里的剧情要强得多
平野紫耀可爱啊！说实话日本漫改恋爱真人电影水平也就那样了，这部算得上还不错的
男主的演技是没得挑了，几乎以一己之力撑起了这个很平常的剧情。冷战背景下东西德的矛盾，自由和极权主题下对东德打着所谓国家安全之名的一系列操作的极致讽刺，最终就连男主都在迷茫与恐惧中“情不自禁”想要叛逃……地球的另一端东亚某半岛上好像至今还在发生类似剧情耶……
真的很好看这部剧！绝了耶！太绝了！大家快去看！真的很绝！剧情真的很有意思了！
以后如果没看过动画原作的话，我还是别看真人电影了。
韩寒的电影太有自己的个性了，莫名其妙的隐喻，看不懂的草蛇灰线，还有硬凹的笑点。说实话故事挺精彩，有种热血番的感觉。演员们的呈现也很不错，昊然弟弟的情绪还挺到位的。再有就是故事发生的地方，南澳真的好漂亮，像个世外桃源。韩寒的公路片就真的很超乌托邦，也好看的。
虽然还是假吧但是对个人来说反倒比前几个好太多。
那个真诚的灵魂啊。他温暖，善良，纯情，很笨，无依无靠，可怜，无助，无能，自恋，硬撑，自以为是。可是他还是很迷人，执着的笨小孩。这一星都给刘昊然扮演的吴仁耀。这是唯一的亮点。这电影就是导演拍给自己看的，他完全不顾现实生活正常人的喜怒哀乐，即使是玩儿摩托那群人，真实生活的问题，也不是这电影描述的。他真的太自恋了，他就是吴任耀啊，可是他早就不迷人了，他不是吴任耀。 btw, 刘浩存是惹了谁了吧，网上那么多喷子。看了之后感觉，她的角色和她的表演匹配啊。就是个长相清纯灵气简单很招傻小子喜欢的女孩子样子啊。
就冲着满分结尾，不全方位爆杀原作者？环奈没了第一部的灵气，但这一部搞笑方面做的还行，梨奈绝对欠了化妆师钱，多好一姑娘啊
为什么完结得这么不好笑啊，除了发糖，完全没了第一部的发自内心的笑了，不还原也是真的伤！
石上那里好棒呀 有那么一丢get千年 cue了花晴什么的 好想看紫耀演不良
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