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.
real typical broadway show
作为一部网大没拍出烧烤的烟火气和东北的粗犷感也是十分失败的，与其引用些网络过时梗不如多从《人生一串》中吸取点灵感。
艺术，友谊、梦想、再异样的个体也有闪闪发光的机会。他们的童年看这个，我们的童年….。
变迁仪式+愚者成功，十序列基本都有，但太飘，脱离喜剧的假定性也太飘，还有各种卖弄的镜头，那些看似“高级”的调度和机位简直成了现在烂片的认证标志，印象里大概从张嘉佳开始这么干的，大家引以为戒吧
①男主的设定是项目的组织者，而不是烧烤比拼的直接参与者，也就决定了，在跟老爷子烧烤PK的时候，他不是上场的主角，只是在一旁观看——影片是男主视角讲述，但影片高潮男主不是场上的C位，跟叙述视角偏离，影响观众代入。
沒啥意思，真沒啥意思。 一些爛俗的梗，媽的，不想說了，反正就是創作一點兒都不認真。
别说 ！是完整的！故事是完整的 节奏是对的。弧光是有的，表演也是到位的。不知不觉就看完了！绝对的及格之上 直达优秀的水准
故事还算完整，下饭乐呵乐呵还不错。
3.5分，作为网大，还是能看的。但是郑总想搅黄父亲的店，为的是让他好好休息。不惜出资十万给李炎燚来父亲背地里干，等真干黄，又要用资本来给李炎燚降维打击，明显站不住脚。还有李炎燚干烧烤，非要瞒着媳妇，导致矛盾不断，在公司和媳妇面前啥正事儿都干不好，在烧烤上和用人上又恍如大神，这人设也过于混乱。不过作为喜剧整体还是能让人笑一笑，希望继续努力，打磨剧本。
这片子还真不难看来，有意思，节奏把握的也好。
人生一圈圈一圈，一串一串。水蒸气不错。
崔志佳自导自演了一个不错的片，秒杀一众东北片，我被崔志佳圈粉了。
跟着亲爱的很久之前看的，算是消磨时间了。还是希望当初爱笑会议室更多的人可以出来
在2022年春节假期免费看的，比起春节假期这些电影和票价，这个片值10星。
作为放在disney+上的电影体量刚好，音乐好听，主演表演过关。发现男主哥哥安东尼是歌舞青春电视剧的男主。
意外的感觉很不错，轻松幽默 又能把故事讲明白 挺好的
就是一个会唱歌、会独白的小男孩的明星梦实现的故事！
根本扛不住烧烤的特写镜头 再多点的话 我就给你更高分了
跟着亲爱的很久之前看的，算是消磨时间了。还是希望当初爱笑会议室更多的人可以出来
喜剧小品，大俗的情节设置，利用女性的生殖诱惑，莫名其妙的一见钟情，当作下饭喜剧看看还行
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