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.
这部电影像极了《埃及艳后》，各个零件都精美绝伦但组装到一起大概就是个华丽的废物，因为华丽多加了一颗星，跟玩《刺客信条英灵殿》的感觉如出一辙。
看完就理解北美票房与口碑的不成正比。画面、对白、场景调度都可以窥见导演一贯的个人风格，可惜观众在大银幕上看这些形式大于内容的玩意真的不会有太多兴趣。本片还是留着给影评人和文艺中老年自嗨吧。严肃古装的时代已经结束了，还是看看隔壁超级英雄数钞票吧家人们。
摄影美术啥的都还不错，就是略显老套的王子复仇记的故事配不上这个片名，格局小了，不知道的以为你拍的是克努特大帝或者是古斯塔夫二世呢
在美国的电影院，看一部美国主流电影，听着大段大段的中文，旁边的美国人却要看字幕，真的是很神奇的体验。
就从来没在这类型的内容里看到过干干净净的北欧人。皱着脸看完的，一句fokk都没有，笑不出来，不能否认有着强烈的美感。复仇题材能写得让人想要两边都活着，就是好的。不过仇人们在瓦尔哈拉相见了怎么办。
看不完 看得心绞痛。这是复仇电影啊？？？这是屠村虐杀电影吧！ 留给喜欢的人吧！我不喜欢！！！！
看的92y首映场 E大真的尽职尽责认真回答问题 第一次看故弄玄虚神话片 大家吐槽的50个人小村庄称王打打杀杀没有大场面我也深有同感 但这也许是当年北欧神话的真实展现？我被我女神的所有片段吓坏了
北欧版的王子复仇记，剧情比较简单枯燥，动作场面也没有太精彩的地方，很平平淡淡的一部影片，妮可基德曼在这里的扮相毫无美感，有点恐怖了！
中规中矩的王子复仇记。
7分吧，画面很美，演员演技也不错，但我不了解北欧神话也没看过莎士比亚
乐子极多，值得一看，尤其最后克苏鲁大战东海龙王大草，仿佛在看哥斯拉番外。以及杨紫琼对刘思慕说你长得真像你妈（陈法拉）。我：你瞎还是我瞎？
I don't get Robert eggers
看到後面發現：哇！暴君率眾妖害人！（誰懂？？）
i like it，毕竟看到了碧玉的短暂出场。王子复仇+俄狄浦斯+女巫+仲夏夜惊魂的混杂体验，诡谲而疯狂的北欧传说为整个故事镀上一层神秘色彩。不过E大怎么呆呆的？
就从来没在这类型的内容里看到过干干净净的北欧人。皱着脸看完的，一句fokk都没有，笑不出来，不能否认有着强烈的美感。复仇题材能写得让人想要两边都活着，就是好的。不过仇人们在瓦尔哈拉相见了怎么办。
其实三星半，和女巫有点像，都属于观感体验向的电影。感觉导演的意图，就是用电影视听语言，带观众暂时忘了自己的生活，走进那个时代和那片土地，体验一把血腥野蛮，还有萨满崇拜。音效很震撼，适合大银幕；情节是经不起仔细推敲的；大部分角色的台词都能听懂，唯独女主装的假口音搞的我只能听懂个大概，所以每次有女主的文戏我都会因为听不懂犯困；另外一些幻觉部分，其实很重要，但不知道是不是预算不够，太五毛特效，导致严重出戏，如果处理好了会大大提高整体完成度。
北欧版的王子复仇记，剧情比较简单枯燥，动作场面也没有太精彩的地方，很平平淡淡的一部影片，妮可基德曼在这里的扮相毫无美感，有点恐怖了！
电影野蛮中带着知性美，画面视觉带感。
不想看装腔作势又粗劣浅显的王子复仇戏码了。
导演与片方的撕扯总是没有好的结果，脱离了A24制作上的把控本片提供的视听效果完全败给去年更加纯粹的《绿衣骑士》，冰岛远景的长镜头摄影毫无新意。本来期待罗伯特·艾格斯与安雅的再次合作，安雅却完全沦为了港陆合资片里的大陆女演员，纯纯的女工具人范本，献出的裸背毫无惊艳可言。直到最后两裸男在地狱之门前的盘肠大战，也只能带来一个哈欠。
Copyright © 2015-2023 All Rights Reserved
