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.
传统经典的贺岁片，今天这个时候看刚刚好。拜拜2021，你好2022。
色彩缤纷，整体暖色系，是我喜欢的感觉。男男女女的话题，拯救了我这只单身狗的失业无聊时间。不妨一看。
想拍爱的偶然与必然性，又想拍灵魂伴侣论。但想法挺好，剪辑太乱，最后哪个也没顾到，缺了点灵性。
遇到不同的人，我们会变成不同的自我，灵魂伴侣其实不存在！
不太能引起共鸣，比真爱至上差了不少，老年组和少年组稍好一些吧
姜河那&允儿 金英光&韩智玟&李阵郁 的故事线好看/节日电影就是要HE！
我也想要morning call
冲卡司去的。结果太过无聊和凌乱看到一半弃。
但是能在岁末的冬夜里让我看到所有故事的美好
導演想拍愛的偶然與必然性，又想拍靈魂伴侶論，想法挺好，但是影片的剪輯太亂，最後哪個也沒顧到，缺了點靈性。
看的时候很混乱，搞不懂剧情，慢慢入戏了，就开始渐入佳境。彼此相似的人，因为你像我，所以我爱你。但是哪有完美契合的理想情人？彼此不同的人，因为彼此差异而相互吸引，有这么多差异想，我还是想爱你，所以相互磨合妥协，为彼此变成不够完美的爱人。我觉得为了爱你，愿意改变自己的爱情，才能走得更久吧。
有点意思 四个人两段人生不同体验 看到最后总结就是 男人都很渣只是表现在婚前还是婚后 这么看来好像婚前很渣反而挺好 女人有孩子前后变化也很大 但也不一定的事 还不错 挺好玩的
我看腻韩国的影视剧了，情节、镜头、演员的情绪、一举一动都像在套公式😭但如果能在新年坐进电影院看一部都比较感兴趣的演员演一部轻松幸福的电影，我会掏钞票的。国内安排一个，或许还能达到催婚效果💁♀️类似电影想起了《恋爱中的城市》，《全城热恋》有点久远了～当然最棒的是《真爱至上》。之前很喜欢姜河那的时候不喜欢别人叫憨憨，现在感觉他已经憨憨上头了🤣
life噩梦重现。。但紫红色西装的290值得一星（看他体型感觉这电影应该很早就拍完了。
这么温情看完又开心的电影分数怎么这么低？就凭着心情好也得多给一星吧😁
我爱演员阵容，可是剧情好散啊…感觉更像看了一部酒店宣传片…
作为韩国贺岁档的确实满温暖，融梗除了老融就是旧梗……意思是我纯纯是为了leedongwook而来……每一条感情线都平平无奇，但是作为我大年初二以及一月份观影片均高能而言，还蛮放松的。李光洙演技好赞！里面的音乐真的都很好听，没有愧当是个音乐电影，以上。
开年头一部电影，是这样的喜乐会，虽是絮叨老套，可，人世间的美好不正如此么…🥃
沒看之前很期待，看了之後，這剪輯轉行算了，我看我都能剪得比他好
讲述了四个单身朋友以不同的组合成为情侣的故事，对“灵魂伴侣”度概念提出了挑战
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