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.
P.S. 如果配合D-Box座椅感受會更深。
只想说，除了主角一个能打的都没有。同仇敌忾出来想靠勇气战胜水猴子，可是这么多人一点谋略策略都没有。好歹拍出点精彩的血性呢，结果啥也没有。一船人没有各自的的特点，要这一船打怪人干嘛。
54秒爆炸 我整整看了10分钟，你考验我智商嘛
比第一部强一丢丢。拓麻都不好意思告诉别人我为了看这部电影给某酷充了一个会员......啊这该死的好奇心！
另外女主的打戏无论是表现还是设计都很干净，这点还是不错的。
逻辑硬伤太多，小细节也有。打斗的一些场面还行，剧情拉胯
突然就认亲了？突然就所有人知道她们娘俩身份了？起码缺少10分中的剧情做起承转合，讲故事还是太差了。最扯的是连病毒都扯出来，民国科技这么屌呢
故意打一星的脑残们建议还是回家去看手撕鬼子，那个符合你们智力上限
又和妈妈看了一部比预期好看了很多 整体的色调都是黑暗的 剧情也比较连贯 但确实是有硬伤 总体还是瑕不掩瑜的
好久没看恐怖片了，居然还挺好看的。虽然有些地方说不太通，但是总体故事还算比较完整。还挺喜欢女主那个调调的。
电影院看的，效果炸裂。街道追逐战的部分感觉做得最好，分镜超强。Boss战也不错但没有超过英雄崛起的水平（第二部的Boss战实属牛B）。没想到还有公路片的部分，有些意外但也好看。剧本水平四星，主要是人物扁平（剧场版，可以理解）。A班同学大部分在打酱油，比前两部电影的互动少很多，就有些突兀感，这个酱油还不如不打。
bug还是有不少，打雷下雨也太频繁，但是剧作和观众喜好把握挺花了一番心思，在网大里面还算不错的。
讲故事的手法还是薄弱，当整体已经算良心制作的网大了。
看名字有点熟，果然第一部是看过的，在网大里算不错的，有bug但是整体看得过去。王真儿还是太特型了，有些文戏完全不会演，最适合的角色还是记忆大师里那个精神有点问题的女人。
前面有点不敢看，后面还是被煽情哭了，女主演技不错，长得也好看。剧情还可以，她俩弟弟都好可怜
拍摄手法很棒，情节流畅不拖沓。亲情封建等元素，丰富电影内容！在网络电影里算是很棒了！分类在恐怖类，作为恐怖电影爱好者，觉得恐怖分量不是太足...
男主不应该是韩栋而应该是小六子。女主很稳重很飒，来福一背谁也不爱，让人看的很安心。剪辑很差劲，完全没有烘托过恐怖惊悚气氛，反而后面捕捉水猴子很热血很燃。
三星半，很套路的剧本，看的出来想做成好莱坞那种公路片的风格，骨头社作画打斗还是一如既往的强
讲故事的手法还是薄弱，当整体已经算良心制作的网大了。
这就是那种，你没看之前想看，看了之后后悔的电影。
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