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.
耶稣被附身，圣母变女鬼，神父强修女，魔鬼驱上帝，小心，梵蒂冈有内鬼
这sp虽然有点儿糊弄，但看看打发时间也不错
打着赘婿的牌面，炒冷饭又是把现代元素乱加入，败家子一下成主角变化的有点乱套和不习惯！我就想搞清楚一点：女主角也是穿越过去的吗？
整体的构思非常有创意，逻辑上的细节就有糟点了
这主题，只停留在恐怖类型片可惜了，可以更深化（大抵类型片就是拼贴前人的所思所言，思想上不宜苛求）片名翻译应是：驱神
主角之外人物的出场显得有点刻意为之，不够自然。
属于高质量网大了，和院线大片肯定是不能比制作的，但是作为一部电视剧的番外网大，已经非常出色了
拉美驱魔片，既有致敬和传统套路，又充斥着冷幽默和反套路，最有意思的段落就是恶魔联合起来“驱圣”。
吉吉国王和高田在成就对方的同时，找到自身的价值所在，也收获了真挚感情的故事，好感动。
比本部有意思多多多多多多多多多多多多多多多多多多多了
其实本人非网大受众，也曾经说过最不了解的两类作品“一是不挣钱的院线，二是挣钱的网大”。我理解中的网大应该是给新的导演、制作方、编剧试金，成长的地方，不是卖胸、卖特效、卖猎奇的环境。网大可以是剧、电影的补充，他的价值也很高。吉星高照不是先例，但是在故事性、连接性、完整程度上来讲是优秀的。任何类型作品都不该有天花板，创作者们一起努力更改行业风气就好了
还是蛮搞笑的。就是男主这脸不行，不像一号啊。。。好尬
吉吉国王作为网剧第一部的搞笑担当，搞笑功底还是蛮扎实的，笑点很多，很适合带着女朋友一起放松。
延续了赘婿的搞笑段子，讲的是二房的一些感情经历，最后也拜倒在石榴裙下成了一名赘婿，事业成功真的不分男女，还是挺好看的
恶魔驱逐了上帝，从而控制了教廷。本来挺无聊的一个影片，在最终反转中，出现了很有意思的转折。另外这里的格斗对抗基本靠喊，有节奏感的说唱黑人选手能当上高官还是很有说服力的。
3⭐好像高了，2⭐有好像不至于，因为我看的时候还是笑的挺开心(虽然有些地方也很尬)
果然即使穿越了大家都还是打工人，但是不得不说，男主的职场线还挺爽的，要是现实生活也能有这么爽的职场线就好了！
牧师的牺牲也没得到上帝的加持，驱魔手段还是靠吼，魔鬼和上帝的附体都认为对方该被驱逐，搞笑。
赘婿之吉吉王国番外篇，无聊看看还是不错的，剧情一般化，但内容有包袱有笑点。
什么玩意儿啊，无厘头也不能这样搞，朱自清的橘子梗都来了……
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