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.
整个剧情和节奏都很一般。在感情纠缠中，官二代杀了富二代，找了穷小子背锅，看起来是律师“伪造”文书实现公义。但实际是富二代老爸用钱疏通了阻碍拿到了证据，在法庭上直接锤死了官二代。
熟悉的味道、熟悉的演员、熟悉的剧情😁经典的TVB剧情➕结局
绝对是一看就知道剧情走向一部作品，真凶不要太明显好吧。结果其实早就心里有数了，就是撑着耐心看看方中信和廖启智罢了。
港片真是夕阳西下了，这种片子真是烂的没底线了。。。
一、搅屎棍英国的律师都不戴假髮了，这些外貌是中国人的法律职业人员还戴着可笑的东西。
但凡被殺的不是有錢人的女兒，律師口中的公平正義真相都會變成口嗨，這是一個以黑治黑的故事，不過是用律師當了槍手，用法律做了包裝。另外，很不喜歡這些男性主導的港片裡呈現的女性形象，純純的工具人，對劇情發展沒有半分推動意義，像是一個花瓶，只是用來生育。編劇不會寫可以不要寫，別老是用女性角色襯托男性的偉光正。
非常不真实，导演和编剧水平很一般，一部好剧拍的稀烂。
用电视剧的节奏来拍电影，当然还是差意思的。智叔rip。
该有的元素都有了，老戏骨们的水准依旧在线，但就像这些新生代演员一样，港片也不过如此了，比照刚刚看完的《龙虎武师》，实在令人唏嘘…
还挺精彩的律师觉醒故事，正义战胜了所谓的专业。
方中信还是一样棒👍🏻一部靠演技撑起来的电影，让原本略显粗糙的剧本，变幻出了紧凑的节奏。老戏骨们看着就是舒心。
殺妻兇手作為破局牽線人設定得不錯，不算為了過審而加上自首一鍋端的話，利用偽造証供標榜人無完人、公義賽高就有點畫蛇添足了
哎…还是这么陈旧的套路，看着这些tvb老演员，有点心酸。
可总是有些时候回头一看或者某个身边的初生牛犊刺激让你又深深思考。
boss一出场，就知道是boss，全片就在等怎么扳倒boss了。
过程粗暴的不行，最后挽救了一点。
故事平庸，浪费了一群上了年纪的好演员，年轻的那些不太行，夸不动。
老演员越来越少了
对这部电影产生兴趣，更多的是因为抖音上曾江与廖启智在船上的那场对峙戏，应该有不少人都是因为那场戏才选择看的这部电影。挺遗憾的，像电影中的这种情况或许也只会存在于大银幕中，现实的骨感甚至要比虚幻的电影还要离奇，还要恐怖。
剧情有点简单，但这是时隔好久第一次有兴致看完的电影，还是酷的。
Copyright © 2015-2023 All Rights Reserved
