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.
片中的梗也不少：钢铁之躯、蜘蛛侠、风之谷巨神兵、机甲大战等等。
借鉴是有借鉴，无语是有无语，进步空间是有进步空间，但国产动画到头来最好的还竟然真就是熊出没
闺女第一次进电影院，那么喜欢看熊出没的她看到后面都感觉不好看，以前在家陪她看的那些剧场版比起来都比这部有意思，这不就是套着熊二皮的套路片吗……（那些天天拿熊孩子说事的玩意儿，其实更讨厌的是那些带着孩子来看电影却在旁边玩手机的缺德玩意儿，就这些人养出来的孩子也好不了）
10点半的4D动感影厅，孩子很喜欢。希望熊出没越来越好。
春节档第七部/2.3下午观影，科幻题材与动画片结合，还挺意外。剧本稍微有点平，故事有些老套。配音演员应该还是原来的，听着亲切熟悉。
这部还有一个点（算剧透）：他们要点亮一座可以向外太空发送信号的塔，我心说，千万别点啊！！！点了下一部就是《三体》了！！！！！！！！！！！
转引五岁小朋友的话：零分。
熊二是孩子，熊大是妈妈，光头强是爸爸。家庭里一个红脸一个黑脸，就是娃不听话的下场。
第一次带孩子进电影院看这种贺岁动画片，3D居然要60块，看下来效果算是值回票价吧，还有一点点超出预期。温情太少打斗太多，对大儿童比较友好，孩子表示看懂了并且很精彩，最后小猫咪的爸妈没找到有点烂尾了。
看完日常番直接看这部电影，有一种看完速一街头飙车就看速九开车上天一样的感觉。故事很套路也有很多模仿借鉴，整体还可以。就是疑惑怎么人熊也和平了？这一基础设定的改变是熊抄羊还是羊抄熊，还是上级统一安排部署？
这小孩看了，不会觉得大人是弱智？登月这么简单和现在主流宣传符合嘛
特效不错，片子里面那两个路人男比熊大和光头强的戏份还多就离谱
带孩子看的，超出预期，特效很牛，经费燃烧了很多啊，片子竟然让大人看得津津有味
喜欢大马猴二狗。什么烂俗科幻片？声音也吵死了。熊出没系列最差一部！
陪弟弟看的第二部熊出没（多一星给还没长大的弟弟
应该是一只迈克尔.贝熊，除了轰炸，再没有其他新颖之处
没有up主们说的那么神，前半段三星后半段有四星吧，尤其是最后跟天火决战那里，有类型片那味儿了！没想到有生之年看《熊出没》会觉得燃！《咒术回战》都各种缝合，多学点儿优秀片子的内容没啥问题。先了解大众喜欢什么样的内容，做到能持续产出高质量的片子，进而突破创新，这是进步。加油！加油！
不要带女生看动画片，周围全是小朋友还不熄灯，弄得我都不好意思做羞羞的事情🤔
三星半。
陪小黑妹看电影，她爸比看得最带劲……男生真的是对带科技感、未来感的po战无底线地着迷吗？Confused...这可是熊出没ε=(´ο｀*)))唉
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