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.
女主颜值身材都是一流的，这个角色演得也不错，本来至少值3⭐，但是看到评论里有人说抄袭恐怖鸡，去看了一下，还真是，减一星1
男主 女主 房东 各种操作都很迷 非常迷 迷到令人无语那种
比想象中好看，这么做是图啥，嫁给他就完了啊，后面又要杀继父是为啥
两位女主的逆天大长腿太好看了，真是养眼。
剧情惊悚片，男主引狼入室，不得不拼命存活。告诫大家交友要谨慎啊
还蛮有意思的，把战场设置在冰面上，特种小队滑冰运送生化武器，虽然女主反复横跳有点捉急，但各种要素拉满。
故事太俗套了，看到这种偶遇美女的，我就知道假的，再一次让我明白世界上没有免费的午餐，警惕美女的投怀送抱，虽然我也没啥资本让人家惦记着
唯一的赞给女主的美貌......Lilly Krug (莉莉.库拉格)；
如果有凯奇出演，我可以很确定主演们是真的缺钱……
这特么是啥？这么重要的生物武器，就派这几个意志不坚定的垃圾送快递？剧本太烂了，场面也不咋滴，快进看看就行
勉勉强强凑合着还能看，有1到2场的近战比较写实，还有劳米确实演技担当，男主确实帅，其他没有什么深度可言。
不知道书写的如何？本片的设定和氛围设置的还是不错的。
我觉得挺好看的啊，拍摄手法讲究，故事紧凑，主角漂亮，演技也很好。这不就够了吗，一定要剧情有多么复杂，悬疑吗……
海报以为是什么黑吃黑剧情呢 又一条疯狗 不过女主确实漂亮
前半部分比较平吧，女主很漂亮，卡子哥也很帅的，后半部分虽然情节老套，但是最后结尾时候的那段智能控制还是有惊喜的，看的还是提男主捏把汗。最后我记得女主是被砍了一斧子的呀，怎么没有看到伤口流血之类的呢哈哈。最后他家的小孩表现的太淡定了吧😂
每一步都离谱到可笑，但是管不住下半身就是这种下场👍
冰原末世的画面感其实做的非常好，只可惜不知道导演想表达什么主题，要么就做一部简单直接的末路护送的激爽片就好，非要加持母爱又让人觉得自私的反感，直接拉低了对女主的好感，沿途的追杀和死掉的同伴都觉得好无趣……
背景设定没有很好的交代清楚，看了介绍才知道是末日后世界。冰天雪地也只有北欧那边才有的情景，最后病毒炸了，会不会扩散啊
谷阿莫，下面网友说片长短一些就好了，那我找到正确打开方式。很完整的一个故事，六人小队执行任务，挨个死掉，最后女主虽然完成了任务，但是为了不泯灭的人性，和自己千辛万苦送来的生化武器一起爆炸。
本来还期待是一部气质冷峻的片子，不知所谓。
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