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.
1、1的武打编排风格独特，2已经怪力乱神了。1号魔女多多少少还有个bug得扎针儿，妹妹2号魔女已经进化得毫无破绽是神级武器了，五米以外根本无法近身。2、期待许久的李钟硕完全是走过场，还想着既然扮演的是老队长怎么也得打一下，失望到最后。3、前面真的不只是慢，毫无营养的台词堆砌就是为了拖时间。4、那两个拽英文的聊天巨巨巨巨无聊，中文对话更是尬上云霄。
俄版《长津湖》，根据真实事件改编，并作为国防宣传片，下了血本，虽然拍摄预算不高，但不影响整体影片素质
这系列韩国人表现我很拽的方式全体都是——
分段式回忆前面看的很懵，后面渐入佳境，后面打恐怖分子最精彩
西巴变成韩国超英片了……女主和四人组的差距等同四人组和凡人的差距，总之太强了
《天空》，整体的战争场面，战术执行，武器配置还是可看的，真实故事改编的剧情，国家情怀摆在那里，虽然文戏部分有点牵强，但整体看得还算是顺畅，从家庭，军事，生活等方面来表现和平年代中，人们对战争的态度，整部电影，可以堪称是俄罗斯国防部的主旋律宣传片，结尾的纸飞机和小男孩在父亲棺木面前的敬礼，还是挺感动的，不过有一说一，同类同剧情的电影，我们拍的《红海行动》比这部会好看点。
中规中矩的主旋律电影。感情戏偏多，战斗场景主要在结尾，不过很有武德。
还不错，战斗场面看着挺爽，中间的穿插叙事也挺好，交待了两人的相爱过程。国家强大。
先说结论，还是值得看的，就是节奏有点慢，要是压缩到90分钟或者更短，应该会很精彩。
有什么可黑的，这片要是国产，岂不是要被吹爆
先吐槽中文那段简直不能更加尴尬。女主是非常厉害（好吧其实是过于厉害到直呼离谱的程度）但演技压根没有表现的空间（有没有演技另说），情节分散到抓不住主线的地步且严重拖沓这破剧情居然也能拍两个多小时。感慨女主的选角不错确实和多美挺像，不过演技很平几乎看不出情绪起伏虽然设定可能就是这样但表情也太一致性的呆板，第一部故事也很俗但多美演出了反差感才让人看得爽快。当然第二部故事就不行，人物塞太多，也没惊艳感，很失望。唯一激动的地方在最后几分钟多美出场的时候，第一个眼神就很有魔女的变态那味！
是这个妹妹打戏太菜了所以不让她动手吗？
如果叫‘俄军宣传片’也合适。
现代战争的高科技和海陆空的强强配合，三下五除二就干掉了。最后纸飞机飞旋天空，有些感到。这世上不该只有美国的英雄主义。
倒叙太繁琐了，其实只保留军营那一段和男女主认识那一小段就行了
俄罗斯特种部队、海空军、为飞行员报仇进攻bk游击队，战斗场面一边倒，一点还手之力都没有啊！加上美佣兵也不堪一击！俄罗斯主旋律！剧情就真是一言难尽！
可现实就是这样…
倒叙太繁琐了，其实只保留军营那一段和男女主认识那一小段就行了
小团圆结局更人悲痛。现实中全世界观众通过恐怖分子的镜头见证了飞行员在高呼中自尽
好无聊，其实只看最后半小时就可以了，前面毫无相干的剧情。
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