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.
合家欢，情节线都猜得到仍然看得开心，在ugly betty里就好喜欢男主
的确是过目忘，不过脑，画面都很糖水 #过上天天看电影的日子
大可不必用一部这么闷的电影来讲这么俗的故事。
很喜欢里面的演员，但是这样一个cliche的剧本，毫无火花的演技，实在让我很无语。
我太爱这种合家欢了。不管是国内国外，同性恋异性恋，过年一样要被家里催婚，太real了。james有点过于性感，只怪你来晚了9年。
又好朋友到情侣的转变这种情节真的很让人拒绝，不过两个人发糖太少了，很多情节都是在说男主和家人和约会对象的事情，明明两个人之间还可以有更多的心动情节安排，不过颜值可以了，最后也是HE！
好俗爛的劇情但是好可愛好溫暖喔 ʕ •ᴥ•ʔ
popcorn movie 甜喜剧还是不错的
很喜欢里面的演员，但是这样一个cliche的剧本，毫无火花的演技，实在让我很无语。
我的天啊 这剪辑也太差了吧 受不了 看到好几处剪辑逻辑有问题
看预告片吸引进来的，但是剧情有点平淡，看完之后没有那种意犹未尽的感觉。羡慕男主有一群这么爱着他的家人们，和侄女们一起跳舞那段全剧最佳。
佳节共赏，温馨浪漫“大俗戏”。但一个普世价值的童话故事，在被疫情偷走了俩年后就真的很需要啊！珍妮佛库雷子真的是gay icon！
很老套但是场景设计很美，就是这对太姐妹了惹，磕不起来。
嘎了即使是gay还要被过年催婚回老家被安排相亲被硬和闺蜜凑cp这是什么直男写出来的剧本
太难看了。网飞是不是以为拍什么用户都照单全收？应季的电影一年比一年难看……全员挤在一起念台词，完全没有剧情可言，没有一个喜剧的演员存在，强行搞笑实在难看。
难得的温馨爱情片，友情还是爱情？试了才知道。卡司真的很像一家人，配合默契。
网飞圣诞贺岁档，属于gay的圣诞大餐终于端上桌了。甜蜜的室友+八卦却有爱的一家人，其乐融融，圣诞氛围拉满。不过现在真的是连同型号的gay之间都没有纯友谊了吗？我记得有位所谓的爱情专家说过这样的话，「男女之间是没有纯友谊的。如果你觉得有，那么恭喜你，你就是被爱的那一个」看来本片导演也是在努力的用实力去证明那些专家的话是对的。（可为何我依旧觉得是有纯友谊的？也许我就是被爱的那一个吧。想到这我还觉得自己是有价值的，至少有人爱我就证明，我值得被爱）
对比兄弟姐妹里面，luck仿佛未曾变老。而丑女贝蒂里面的小秘书现在肉眼可见的皱纹。至于剧情？直男直女剧本一套啥都没变，造成了比直男直女圣诞电影还假的剧情🙄🙄
90年代套路的chick电影套上了gay的壳子也掩盖不住扑面而来的俗套和无语……
尴尬…姐妹变情侣。这剧本真的不是捡的30年前的吗？
Copyright © 2015-2023 All Rights Reserved
