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.
没劲
吕克贝松斯坦森速递快车大杂烩，混合大叔与小孩性转版。但碍于成本场面很小气。
这哪能和大叔比？营销一直说女版大叔，这给我激动坏了，看过来感觉还不错的样子，尤其宋清晨那个吊样子非常的有特点啊，片尾的手机接到新任务明显是要继续第二部！另外，看到没多人问女主咋脱险的，我真是头疼，水里那个钥匙的特写那么明显，前面又表现了这货什么锁都会开，而且身手了得，加上男老板之前说的她家人全死她全身是血逃出来的，可能也不是个善茬啊，那动作明显是练过的……
一家三口去看的，还可以，儿子看的很开心，结尾有点感动，泪点低，被儿子笑话了😄
韩国电影这两年剧本越来越敷衍，都是流水线作业，挺无聊的。
其他也还好，就是：请！不！要！瞎！cosplay！加里.奥德曼！
但是加上故事情节就烂得一比。女版《大叔》和大叔没得比。
其实是个中规中矩的商业爽片，叙事节奏，动作戏份中规中矩，片中的亮点是加入了飙车元素，飙车时的配乐还是很飒的！确实肾上腺素都起来了，还是要鼓励这种类型片，毕竟我国想拍出这种的还是有困难的吧，呵呵！（致敬这个《这个杀手不太冷》好评！！！）
三十岁的大人没法批评小孩说，怎么这么笨3+6等于几都要数手指头。
#这个姐姐不太酷
也太能打了 男主的吐槽真的搞笑，难怪说是脱北朝的
剧情挺俗套的 但是动作戏和音乐都非常带感 朴素丹很不错阿 反派黑警有点这个杀手不太冷的反派的感觉 最后咋活下来的没弄懂
扣一分是因为这小孩太烦了 最烦的就是一天到晚把手机给小孩随便玩的 坑死自己了吧 真绝
没啥意思 快进着看的也没看完 准确的说是看不下去了～ 从女主人设到故事情节还有电影配乐 都感觉那么的熟悉 同时又那么的违和感～ 感觉就是把同类型电影的诸多元素生搬硬套 强行组装到一起的四不像即视感～ 想法是好的 但是导演的功力实在太弱了 还得再修炼些年吧～
女版《玩命快遞》，勝過男版，兩場飛車設計的很聰明。
朴素丹最后一个镜头是因为落水太久泡浮肿了么
陪着孩子去看的，讲了人类发展对森林的影响，也讲了鸡妈妈对孩子的爱！适合宝宝去看！
《非常人贩》+《一个好人》+《这个杀手不太冷》，各种元素大拼盘。拼的多了，本身剧情就会显得苍白无力，所以人物显得很尴尬，各种突如其来的一切，毫无铺垫和力量。只是动作戏和追车戏拍的很不错而已。观感还不错，就是不能多想，看个开心就好。
脱北者车手和掮客老板的设定着实加分，建议出前传。
与其说是女版的《孤胆特工》，不如说是韩国女版的《玩命速递》，整体质量说不上太好，动作戏质量一般，但赛车斗车环节设计的还是不错的，女主脱北前，肯定也是属于军方人员，打斗能力说不上出色，但开车能力确实牛。影片质量还是可以的，没事时看看绝对没问题，我给4星7.2分！
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