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.
前边还行，后边简直有点莫名其妙了。Queen B当年在Gossip Girls里边多美，现在是为了走实力演员路线吗，还是为了贴近这个刚生完孩子的角色，形象上牺牲还挺大。bug还是有点硬吧，比如闺蜜和老公的信息明明是闺蜜缠着老公，到老公的闪回就变成闺蜜很潇洒但老公不肯放手了。还有明明房子门口有监控，海边也有，却没拍到老公吗？反正就是无脑看看还可以，不能细想。还有这女主怎么总藏不住事呢，你就不能有什么事等到了安全的地方再说再报警，非要自己一次又一次的跟嫌疑犯对峙也是绝了，没死只能说编剧对你好
挺写实的，节奏也很紧凑，值得一看。原以为是克罗地亚版的《人皮客栈》，克罗地亚、叙利亚、阿尔巴利亚的故事很接地气。
多一星給風景，好想住在那，爬完雪山回家洗個熱水澡一杯熱拿鐵一根薄荷煙
一颗星给救人与自救的大主旋律，两颗星给无限旖旎的山谷风光。冰风暴刮得清醒 生疼 沧桑，女主在这种环境下毫发未损，还依靠主角光环将一个废男拖下山，厉害。雪景比人更耀眼，可以截屏好～多张桌面。
监控视频显示:警察确实在海边推搡了女二，怎么解释呢？
这剧BUG真的…两个酒吧鸭子在餐厅碰到叙利亚司机打招呼，看到女主转头就狂逃，司机追了很久，好不容易追上了，一回头女主就气也不喘进入下一个画面了（都没他们两个人累😂），明明有监控想当然觉得警察和女死者发生纠纷推到海里，再最后仅凭散落的珠子掉在了女主老公外套里才推断出真正的凶手，Queen B不要硬接剧本好不好
不停反转还是挺有趣的，its always the..
剧情蛮有意思的
比較簡單直白的一個懸疑故事，沒有太多層邏輯，但出於個人情懷喜歡女主。
可能拯救别人也是她在自我救赎吧。大自然越壮美，渺小却丰富的人就越易触动我。（看完想hiking了）
逻辑太弱了，为了悬念而悬念，海边监控居然还能认错人么？
男主：我就想死一下你能不能别管我？？？还有，我特么不姓张
老爷子有点小固执却很可爱，想给孩子上一课，结果也给自己上了一课，陪伴真的是孩子成长过程中最重要的东西。
漏洞百出的悬疑啊……出轨就出轨嘛 搞得我以为是暗网饭迈人口呢
看简介是我喜欢的狗血搞笑剧，看完后很失望。就是这个题材怎么也能拍的这么无聊，最精华的有钱仔体会普通打工人民生活的部分草草带过了。最后也没懂得感恩。也没啥成长。搞笑也没搞笑到。。
两个互不相识的倒霉蛋在雪山上自救以及共同共度难关。。。呃 男主一旦被救 独自驾车离开 。。此后她的救援的故事由被救男人之口宣诸于世
叙事的连贯性不是很好，也没有能成功得营造出紧迫感，因为结局是注定的，也感觉没头没尾的
风景不错，但是剧情挺弱智的，这个编剧是个小P孩吗？？？
一个独自营救的故事，印象深刻的是1.冷，2.一个经历冻、摔、淹依旧大难不死的男主
整体完成度不错。除了故事设定之外其他没啥看的了。
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