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.
看到b站更新就草率地看了，上次看看图图还是在十几年前，听说是炒冷饭减一星。（小朋友们，健康哥哥要开真银斩啦！）
动画的几集放一起整一个电影，我记得图图明明是先认识牛爷爷才去的幼儿园的。
……可能是怪我20了就不该妄想看图图这种动画了吧……打三星是因为坐我后面那排的小朋友好像还挺开心的
这么糊弄吗？把剧集拼凑起来加几个画面就是新电影了？是觉得现在的孩子没看过之前的还是看过的孩子不会去看，多一星是霸王龙小分队的歌好听。我敲，好失望。
我为什么要花钱去电影院再看一遍图图妈用牛爷爷吓唬图图😅
小孩子们是喜欢的吧？个人感觉还是适合制作成电视剧。
有教育意义。但犯了国内很多动画片先入为主的错误，总是站在大人想象的儿童视角去安排故事情节，就显得片子不止是低幼，而且还弱智
前面频频出现似曾相识的情节，隐隐怀疑是不是幻觉记忆。直到听到片尾曲才开心一点。是第一部的主题曲，像个彩蛋，缅怀当年按时看直播的我。
现在才开始博士和Yaz的感情线不觉得晚了吗，而且前面也没铺垫，看得我只有尴尬，感受不到cp感。
真的很治愈啊。最近几天不太开心，看的过程中笑着笑着就哭了。这种单纯的快乐实在是太难得了，谢谢图图~
那个姐姐的片段属实可以，其他的话也就那样吧，感觉不能算惊悚恐怖加了点恶心😬
霸王龙小分队是最擅长恶作剧的，难道不是吗？（吹头发）好像要小怪那样的一只猫啊。
为什么美食狂想曲不炒冷饭，2021年的霸王龙要炒冷饭，这个顺序不对啊，我想不明白，看的时候还特地搜了一下上映时间，人物出场介绍版歌曲大赛
这个歌和第一部真的一脉相承
只有图图可爱⚈₃⚈星星都给图图
最后经典歌曲出来的时候全场大合唱的感觉超级棒
PS：
速达，如果咱做不来电影，这钱还是让别人赚了吧。给一颗星是因为最少也就那一个星。
本以为是奇幻限定，没想到是重阳节限定。
到底要消费多少遍牛爷爷 小时候就一直心疼牛爷爷 一晃我长大了 他们还在怕牛爷爷
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