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.
难道国内外的动作片，都找这种没基础的来尬演？
有韩国特色的搞笑片，挺欢乐的，一群二货的海上之旅，比第一部多了些搞笑。
为了韩孝周看的，好好看但演技好尬，但是武打花絮里她能做引体向上诶。feel sad for吴世勋的粉丝和李光洙。韩国古装片到目前为止还没看过一个好的，怎么一碰古装质量就这么差？
观感不错，大概就是古装女版john wick，但相比john wick来说动作戏还是比较差，女主太丑了，那个越南裔还不错，一个好看的亚裔正面角色太罕见了，总体本片还不错
要素过多，要素过多，要素过多，重要的事说三遍。年度狗血俗套女权神片，一言难尽。
是我看完《女主对此感到厌烦》的完美代餐！！girls power在里面展现的很明显，没有像那些“大女主剧情”里非要加些个男女的情情爱爱来搞臭剧情真的赛高🤗
即使服化道再精细，特效再逼真，美帝这几十年来的青少年电影始终摆脱不了演技浮夸剧情弱智的标签
这个动作片！打斗有很多中国元素，挺不错的！好看！
政治正确万岁！公主颜值不太行。好莱坞拍这种后李小龙式动作片都不爱找香港导演了，香港人该好好反思了~不友好的胖子笑话，减分。竹林练功传授手眼心法依然是夸张的东方想象，中世纪铠甲冷兵器打斗倒是有些新意，就是动作设计的节奏有很大问题。
有感而发 如果没有信心超越加勒比系列 还是不要拍这种题材电影 总感觉差点意思
公主像《疾速追杀》里的基努，一开场戴着手铐杀了两个男人，一个人突破一群士兵的围追堵截，直到2/3之后才有她的东方女师傅帮她。最后绝地反杀那一割实在太精彩了。值得所有女孩观看。
比预期的好些~另外如果公主的选角再漂亮些就好了
【知识/逻辑】：2.0
我看应该叫神一样的公主，想怎么打就怎么打，打多少人杀多少人编剧导演说了算，咱们就图看得爽就行！
前面是真的拉垮，部分特效也是五毛，场景剧情不断闪切，主线故事不算复杂，无用支线太多，2小时的电影都做不到流畅推进剧情，是不是一开始邀请太多客串了，就随意写一些场景。P.S光洙就是换了个地方出演RM（5.9）
简单粗暴，Can’t ask for more.
反派强行下线…不过特效还不错，如果在影院看应该很爽
唯一的看点动作戏，说不上坏，但离好看确实还差的远
剧情没咋看懂。但是权相佑的肌肉得给分，雷剑设计也很酷。
逻辑混乱 一开始的灾难不就是自己作的害了全家？不想嫁人早干嘛去了 非要在婚礼上一个大逼兜子呼过去让人下不来台 在那个时代背景下 换谁谁不干你？复仇的话直接抹脖子吧。
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