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.
及其推荐，非常适合小朋友或者一家观看，老少皆宜，除了对汪星人有些黑化其他很好，剧情也很舒服，画面质量很高
本人比较喜欢动漫，感觉里面好美，可以去看看
爽剧，喜欢打斗场面，易群先演技不错，确实像个疯子，安志杰太帅了，太有男人味了。其他的真是一般，当个泡沫剧看看得了。
剧情有点老套 疯批什么的真的太多了也不是好事
可以啊，挺打的。算是诚意满满了。杨杏被X给我看挺了，我是不是变态。
蹩脚的夜魔侠+小丑女一起飓风营救……
爽剧，喜欢打斗场面，易群先演技不错，确实像个疯子，安志杰太帅了，太有男人味了。其他的真是一般，当个泡沫剧看看得了。
// 李子雄过来露个脸。
●很喜欢男主跳窗逃跑后又从电梯里上来这一幕 。电梯杀人这一段也很智斗，这一节打架男主都是全凭智力赢的(因为对方个头太大了)
甜甜圈的形象就是肚子上有个洞的仓鼠，然后因为扁扁的，所以我真是没有看出来有啥可爱的。不过我家小朋友觉得很可爱。故事就那样吧，适合小朋友。
感觉眼瞎后的战斗力比正常时更强了，还有反派就非得照着变态的模式演吗？文戏除了那个倒霉蛋警察其他就没啥亮点，武戏也没特色，2星。
本人比较喜欢动漫，感觉里面好美，可以去看看
虽然没太大的惊喜，毕竟这类电影太多了，但还是觉得挺不错，算是烧过钱的电影。
有些人说作为网大电影就可以了，网大就应该凑合啊，可惜了安志杰。。。动作场面马马虎虎，剧情就更甭提了。。。演员一个个一看就是在演电影。。。
在19世纪的一座小岛上，生活着一群叫菲拉萌的甜甜圈形的小动物。其中有两只菲拉萌意外地闯入时光穿梭的入口，来到现代的中国上海，在那里，他们发现菲拉萌已经灭绝！
金刚的西服变干净了，一小时的位置穿帮。 摇跟甩挺有意思的，剧作疯了
巨量的网络用语有点尬，受众定位不是小朋友吗，但感觉这些就是大人编剧在自嗨
又是盲战，又是盲侠，最近网大动作片都和失明人士杠上了阿。
一直不明白为什么安志杰不红，明明又有颜又有形，动作戏拍得也很棒。这部片子其实拍得还是挺用心的，动作设计很到位，剧情也算不拉胯。唯一不解的设定是为什么要把杰仔设定成盲人，费力又不讨好。杨杏虽然表演和其他角色一样夸张做作，但意外的是竟然贡献了多场长镜头动作戏，很是像模像样。其他角色完全都是花瓶角色，反派一个比一个渣，尤其是女儿的扮相实在难看。动作片一般在豆瓣评分都会偏低点，就加一颗星鼓励一下，加油，杰仔！
剧中的各种造型很加分，最后结尾还是蛮刺激。
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