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.
合家欢的圣诞gay电影，能拍出来就已经心满意足了，要啥自行车啊
帅哥好养眼，至于剧情，就像是看了一期《粉雄救兵》。
好喜欢看这样的电影，开开心心就看完了
怎么说呢，确实有点离谱就是感觉他这个有点不太现实，至少看着还不错啊，没有评论说的那么离谱。
很甜但是很扯，做朋友那么多年，突然在一起……emmm有点不适
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
看拍摄就知道这是明显的电视电影，所以也不需要过多的期望
过节看用来放松足足够了，特别快乐～ Michael Urie还是那么可爱QwQ 两个侄女太工具人了，家人的助攻也好牵强，虽然我觉得James和Peter也很合适，但这个朋友变恋人的烂俗结局也挺好～ aunt sandy 太有趣啦！🎵 riding solo, single all the way 🎵懒妮yyds
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！
〖6〗大概是少数群体的寻爱故事更易与之共情，阖家欢圣诞电影仿佛也愈来愈喜欢用性别身份粉饰俗片，不过这也的确可以让观众在这空气中溢满love的季节里重拾对生活和爱情的向往，就像是冬天里的一杯奶茶，有点齁人但也可以温暖心脾。
因为没看完所以不评价，不在节日气氛里看还是有点太热闹太黏糊了，以及男性浓度太高——关注LGBT人群请多出百合片！
糟心的日子里需要更多这样的电影&剧集 (Luke call me
破产女孩里最喜欢的俄罗斯大熊阿姨居然有客串，很惊喜。滑雪教练很帅，脸好看，身材勇猛。不过剧情过份老套了。
老套的异性恋的皆大欢喜主题电影，变成了同性而已。现在的编剧连脑子都不愿意动了么。
太cliche了，中间一顿快进，还好最后接吻了，不然我要掀桌了！
甜甜甜！喜欢看 还有黑人小哥好帅！Jennifer还是那么好笑
硬凑cp，明明是姐妹，luke那么帅，可惜
白瞎了，服了，最后和自己9年的朋友谈恋爱，我和James 也不是不行
很简单很甜蜜的故事
看了五分钟以后我就觉得男主和gei蜜最后要在一起
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