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.
好无聊的片子啊，除了丧尸能发电的设定有点搞笑。。。。
没啥拍的就别拍了,最后大爆炸都弄不死也太扯了
剧本无趣且无聊……SB澳版丧尸片，仅标注。
2022.4.**僵尸竟然是动力来源，口气当汽油，变异僵尸能控制僵尸
坏人死于话多！！
不好的家庭 因为女儿的结婚得到了幸福美满 可爱轻松的家庭合欢剧 平淡的日子被爱与亲情重燃
其实一般，只不过口吐黄气的新能源丧尸真的脑洞大开了😂
幸亏我提前看得第一部，不然可能完全看不明白这个剧情，如果你想看这个剧最好先看第一部
没啥拍的就别拍了,最后大爆炸都弄不死也太扯了
先看了评分再看片子、意外觉得还凑合可以看一下的，下半部分还不错的样子，可能我自带僵尸片滤镜了…
没有看过第一部，也不知道是续集，这电影的设定脑洞真的很大，看得挺爽的。既然晓得有第一部，马上去找来看看！
能想出丧尸口气产生能量就很🐮
其实一般，只不过口吐黄气的新能源丧尸真的脑洞大开了😂
说是部悬疑剧吧，又没有身临其境感受，一直看那两人在吃饭讲故事。
HBOmax也开始用大数据写剧本了？剧情几乎无任何有新意的波澜，全都按照好莱坞最经典的分歧-冲突-谈话-和解路线进行，角色更是毫无丰满可言。安迪加西亚是唯一看点。
捉内奸的戏码，从朝夕共处的同事里揪出卧底，情报局真是干得顺手又狠辣。影片用对话回忆的方式展开，慢慢透露劫机事件中，递接信息给恐怖分子的关键点。前情铺垫的很足，后面的揭底与当时事件节点呼应到位。可是一个从办公室拨出的通敌电话，设计的太拉胯。很容易以拨打时间的不在场证明进行排除，也不可能蠢到用办公室座机来通气。当然，情报战最痛恨的就是内部卧底，一次犯错就将遭抹杀。而上级之间的政治交易，却可以任意处置培养已久的线人。万事必有因，以强凌弱，招致了极端的报复。影片虽然还列出了组织内部，其他可指控的成员，但以两三句带过。核心还是在亨利与西莉亚两人身上，从他们各自的举动和视角，拼出了事件的全貌。亨利对峙曾经的线人，即劫机的策划者，他选择保下了西莉亚，但美好的结局无法在谍战的阴影里盛开。
还不错，挺同情他们这对恋人的，真是历经磨难，顽强
开头味还挺对，混不吝的废土朋克僵尸生态闭环了一刚，后面就整个视觉系爽片了，绝绝子
ps 一定要练好核心力量，不然被绑起来的时候，僵尸可能会很快咬到。
=我就想问，what fxxk？？？？这片子为什么还会有人拍出来？？？
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