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.
“Cute but not very realistic”, said by both of us
gay的一些行为动作真的要表现得那么明显吗，有一点太over了吧，不过俩人属性可以CP吗，一开始还以为是纯姐妹同属性那种，圣诞氛围让人温馨，happyending。往往这种故事都告诉我们，珍惜身边人。
看了前部分，这种家庭氛围太让人羡慕了，明天继续，追评，哈哈
Seriously? It's Nick rather than James? And the whole family plot together to pick bf for me, just because you bitches think Nick fits me better? R U guys losing ur mind?
其实吧~恋爱最甜蜜的时候，就是戳破窗户纸的那一刻…PS好有爱的一家人
俗套的爱情电影 只不过换成了同性恋 没啥惊喜
还不错的合家欢电影，白人男主有点显老，一查是80年的，怪不得，黑人男主倒是挺有魅力，白人男2号也真是too hot，不过黑白配最终在一起，也挺政治正确了。
到底还是印证了那句老话，能成为密友大概总带着爱。
爆米花电影该有的样子都有了，就够了，还想要啥？圣诞节不就是要开开心心快快乐乐嘛，难道要哭哭啼啼不行？
Strangely therapeutic
同志假日爆米花，跟直人版一個配方一樣的味道。
“我和我室友因为害怕失去对方不敢告白于是我们做了六年的纯室友”这种一句话就能讲明白并且老掉牙的剧情，你就是抄好好抄都能抄出个合格分出来。所以我真的是百思不得其解，怎么就能做出这么烂的一个要剧情没剧情要氛围没氛围的片子来……
Nick is hot, I get it. Can we move on?
好多帅哥嘿嘿🤤嘿嘿🤤（Nick再高一点点就更好了🥰
預告片也不好看啊⋯⋯ 本想趁假期把Netflix上的聖誕影片都看一遍，我覺得我還是不要勉強自己了，還不如看apple+的snoopy聖誕影集。
好温暖的圣诞调电影～反正我很喜欢hhhhh
How could Michael Urie not age for all these years?!
当背景white noise放着看看吧 不能跟圣诞电影较真
就是聖誕佳節愛情喜劇呀甜到我都要蛀牙了, 麥可優莉還是很可愛呀醜女貝蒂都變懷舊美劇了, 倒是新認識的福里萌真是可愛到不像話耶但才27歲喔//喜歡這種沒有硬要說什麼大道理, 認認真真給你一個空洞的美好幻夢的感覺祝大家聖誕快樂囉
还不错的合家欢电影，白人男主有点显老，一查是80年的，怪不得，黑人男主倒是挺有魅力，白人男2号也真是too hot，不过黑白配最终在一起，也挺政治正确了。
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