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.
主角台词好几句和真嗣君一毛一样，性格人设都像，而声音更是完全一样，我想不到緒方以外任何人能发出这个声音，结尾字幕出来果然写着緒方惠美！EVA浓度太高了。
0话比tv版好多了，上流媒体后再二刷，想到涉谷事件后就留下眼泪QAQ
骨子哥那句“我们可是纯爱”直接让我笑出来，总结一句：夏油ntr失败，纯爱战士是无敌的✌️
忠于漫画，骨子哥的成长之路！
噢！乙骨忧太和祈本里香的纯爱，夏油杰和五条悟的……姑且称之为友谊叭？作为前传挺好的。收悉的味道，啥时候第二季啊，好想看动画版的五条悟的卡姿蓝大眼睛👀布灵布灵✨✨✨
乙骨忧太，最高だ!
马趴爸爸对夏油的恶意真的溢出来了哈哈哈 rika咒灵形态都莫名觉得萌可能是香菜的特有魅力
五条悟又崩又掉帧，夏油杰蛊神下凡，panda和杰的打戏很棒，马趴偶尔的神！！！
夏油杰你咋这么拉，狂拽酷炫吊炸天的拉，四个特级除了颜值你还有啥能排上号？
剧情比TV版好。不过忧太声优是绪方惠美就算了，为啥人设和音色都和EVA里真嗣一样，让人出戏以为真嗣下岗再就业来咒回炒羹了。
除了纯爱战神的宣言有点中二以外，乙骨忧太好帅啊。比虎杖拿的更像主角剧本。
3.5。IMax影院看简直视听盛宴！角色塑造、声优表现、打斗场景燃到爆炸！但是问题也有，比如感情戏处理比较弱，老画面重复用，以及黑屏过渡太多。哎，虽有些可惜，但瑕不掩瑜吧！
三星➕半颗星//从没看过原著和动画的角度来讲背景设定交代得很清楚 无门槛 完成度很高 // 五条悟大帅哥
我们可是纯爱啊！/打斗场面依然很燃，大屏幕加电影院音效看起来更爽了，我最爱的纯爱战神，一百分！
乙骨忧太最终身份是之前看漫画没注意到的，还挺惊喜，也很忧伤——天赋还是靠遗传啊。
声优好大牌。mappa厉害。いいはいい。大家说了大部分我想说的。没觉得粉丝向，从来没看过的我和粉丝都可以楽しめると思う。（可能本质同人女，他们好ggad！这就去找文了）緒方さんは「xxじゃダメだ」の神だ。继续同人女发言，以剧情逻辑五夏其实是纯爱
你以为被诅咒了 结果是你不想让她离开诅咒了她 有什么比拼尽了全力去保护一个人还浪漫呢 真的是纯爱经典 一群善良的人跟一群头脑异类的比拼
对我来说3.5。今天去northgate看，感觉imax 还是真的撑不起来
牺牲睡眠时间去电影院看的早场，在睡意来袭中可以让我醒过来专注的电影，可以说很酷
看过漫画，剧情其实很一般水准
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