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.
情人节套路作品。Owen不够帅减一星，但J Lo太美加一星。剧情什么不重要，反正大家也不信🤨，如果找大本来演男主，可信度会高很多，哈哈！
我真的宁愿Tessa不要醒来 那里真的太美好 换个结局更好…
可能这样的故事只出现在很多国产偶像剧里。
女明星爱上数学老师，过时的跨阶级爱情故事，跟诺丁山差远了。歌还行
两星半，通篇是洛佩兹个人YY，欧文威尔逊加半颗星
Shit movie!!! 前半段还行，后面剧情越来越无语，女主一张丧婆脸，好像全世界都欠她的一样，不知感恩，对养父母态度太差了，抱着小清新爱情片的心态来看的朋友，请止步
女主好辣！但是……加了歌舞总有种印度片的感觉
J.Lo状态依然在线，但剧情好无趣，歌不难听但总感觉已过时。
这部剧简直就是为J.Lo量身定做的！我的J.Lo真的太美了！关键是，我怎么都没想到Owen Wilson和J.Lo竟然会有CP感！我种草电影里的好多歌了！尤其那个on my way！太喜欢了！！！！
那个Bastian油得都能炸油条了，发现拉美那边好像特别喜欢这种类型的男的。这才上映几周，根本没啥人看。我怀疑是因为大家不想看JLo被young版特朗普给拱了。
颜值崩得厉害……故事有点老套……但谁让他是爱情片呢……
有点土有点无聊，主要是男主实在是太普了，此片就是JLO个人秀
就女明星爱上普通男的戏码，hugh grant 的颜值可能还比较具有说服力；而且这里面的歌都不好听啊， 每次marry me marry me marry me say yes 的时候，都脚趾扣地额
女主是photographer 男主等于说全能了
普普通通正正常常的无脑爱情喜剧，看完会觉得很开心的那种。
Soooooo stupid. Jennifer Coolidge is the only highlight, and tbh I don’t know why she agreed to do this movie. Answer: the gays are “obsessed with me.” 5/10
真的名副其实的网大，一切都太表面，当然网飞可能也是在控制成本的前提下做成这样的快餐电影，没任何深入一点的戏份，内心，社会各方面都没有，就是个合家欢电影，gay身份就是个调料，换成男女也完全没问题。
这是什么超级大明星爱上普通数学老师的玛丽苏晋江网文无脑甜剧剧情！不过舞台和bgm很棒👏
看这个电影，让我走出了sad的情绪，只有强大了，才能自由“选择”爱……
片尾还搞了个现在国产爱情片特流行的短视频风彩蛋，女经纪人和那个印度裔教练好了。一对81岁的老夫妻再加上主角cp自述结尾，味儿太冲了。
Copyright © 2015-2023 All Rights Reserved
