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.
可是，本来最没有存在感只负责蠢的男主角艾伦几句话却是影片唯一的亮点。的确，人人都可以嘲讽花瓶，却没人去了解花瓶。艾伦自从做了傻大姐小说的男花瓶一度抬不起头，几个月不敢联系自己的家人朋友。为了生计他不得不接这份工作，却觉得羞耻。直到他发现，原来读者那么喜欢他，因为他的存在而高兴，他找到了这份工作的意义。
又是一部西方殖民主义视角的探险片，这都21世纪了，哪里还有什么失落之城呢？他们并不想去创造，只想着去掠夺第三世界国家的财富！
感觉就是低成本的平庸作品，没能在内心激起一丝浪花，直接就这么沉了。
考古冒险爱情浪漫片。
烂剧本 烂桥段 烂角色 甚至会尬到 布拉德皮特就这样gg了 更不能忍了 强烈建议2倍速以上
哈哈哈哈什么玩意儿看一乐呵有些反讽暗语但很没意思也很低级……不过要说的是女人当家作主站起来了！不再是60岁的007配20岁小嫩妞儿了！咱妇女在50多的时候也能把到小鲜肉！这大臂膀子！这大翘屁深股沟子！谁看谁不迷糊！只是皮特龙套跑得太干脆……以及很多陈家班打斗场景……乌鱼子…所以这是在致敬复古吗……
Tatum和皮特一定欠了制作人或者布洛克很多钱，最值得看的场景基本上都在预告里面了，傻大姐的人设还是很讨喜的，硬是加了一点分。哈利波特出道太早了，没好好吃饭，身高居然差布洛克大半个头。
时代变了 女性拥有头脑和理性 而有美貌和身材的男人负责柔软和甜美 哪怕是政治正确或是商业目的也很好 轻松的下饭片子 人老了就爱看点不动脑子还甜的 另:钱老板这身材跟cg一样无可挑剔
一开始觉得男主有点傻，然后Brad Pitt出现，喔双男主，然后，喔还是那个男主🤣男主第一次出场和电单车飞车都用了类似赌神的那个音乐🎵好燃！
其实我一直get不到桑德拉布洛克演喜剧，但是老美貌似特喜欢她。。这部电影大概就是讲了。。不剧透了，至少能看 brad pitt出现再长一点我还能再多给一星
可是，本来最没有存在感只负责蠢的男主角艾伦几句话却是影片唯一的亮点。的确，人人都可以嘲讽花瓶，却没人去了解花瓶。艾伦自从做了傻大姐小说的男花瓶一度抬不起头，几个月不敢联系自己的家人朋友。为了生计他不得不接这份工作，却觉得羞耻。直到他发现，原来读者那么喜欢他，因为他的存在而高兴，他找到了这份工作的意义。
不错，没什么毛病的娱乐片。剧情没什么惊喜也没什么毛病，该有的效果都有，图一乐看看这种探险爱情喜剧也不错。
也没有那些自媒体说的那么差啊 本身我是不太喜欢什么寻宝啦 丛林啦这样的东西 但是全篇看下来就是一个轻松的流水线作品 还有皮特耍帅
二位加起来都100岁了，就别整这肉麻冒险爱情喜剧了吧。
有桑德拉主演的电影至少不会太难看，何况这部两个人的火花属实是奏效了。（还是我喜欢这种人迹罕见绝境的探险调调，居然想到了木乃伊）
女性向爆米花片，用来打发时间还不错。让查宁塔图姆担任以前爆米花电影里“女配角”的角色卖卖肌肉，让Sandra Bullock负责主导，真棒。
离线完成时，并不知道只有英文字幕，找到一个中文，但又翻译很生硬，电影看了一大半实在忍不住，终于找到一个能看得下去的字幕。说实话，由于糟糕的字幕，让我觉得前面的剧情也很糟糕，好不容易，猜到剧情一定会去到丛林，然后只有在河流被水蛭爬上身的危险？水蛭还能随手一拿就拿走？非常儿戏。女主的脸，一直介于有点好看和不好看之间。感觉还是离远了，才会觉得女主不错吧。然后，丛林所在的地方，村庄那些人都会说英语？这么巧？电影最后，拉菲如果不把撬棍放在石棺里面。你们就无法打开石棺？这是不是太扯了？
好莱坞的编剧已经失去创作能力了吗？虽然本片请出了58岁的桑德拉布洛克和小她16岁的查宁塔图姆搭档，但依然难掩平庸。
无聊的冒险、生硬的爱情、流水账的叙事、神经质的反派、一惊一乍的演技、隔靴搔痒的笑点，名副其实工业流水线拼凑出的敷衍之作，没有一处不老套的情节，没有一处不尴尬的画面，要动作没动作，要笑点没笑点，猎奇程度甚至比不上迪士尼的《丛林奇航》，只能靠布拉德·皮特的客串勉强支撑片刻。
Channing的屁股，Brad Pitt的神武。爱情喜剧不要要求过高了。
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