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.
有剧情不做作，编剧敢写我就敢拍的邪典电影
The exorcism of god，英语好的同学们可以多读几遍，对，就是这个意思，如果普通exorcism后面隐藏的定语是of demon，那这个片名要表达的意思就很明显了
本以为这是一部歌颂德行的片子，最后发现原来想说的是世界已经堕落，未来在于下一代🤣
一个不好不坏，不功不过的作品，只能说是创意不错。
有意思，“每次驱魔仪式都一样，你以为恶魔是傻子吗”，于是恶魔活学活用，厉害了！
近年来最好看的驱魔题材了吧，无论从化妆摄影演技没得挑！
The exorcism of god，英语好的同学们可以多读几遍，对，就是这个意思，如果普通exorcism后面隐藏的定语是of demon，那这个片名要表达的意思就很明显了
颇有新意的驱魔片，把梵蒂冈黑得够呛，虽然恶魔已然渗透，但结尾处仍然埋下了希望的伏笔。
反传统的驱魔片，上帝的代言组织最终被魔鬼用阴暗的手段渗透。两边对吼输出，不如一支镇静剂来到迅速
讲真，比特么招魂3好看多了，最起码前半部分算个精彩的驱魔片，反向驱魔的设定可以更精彩的，可惜拍成了比谁嗓门大！
男主好好帅！！！身材绝了卧槽。我也想要这样的男人(ToT)/~~~
反向驱神很有创意。恶魔在人间也做了很好的解释。一开始驱魔时候那个站在门口的构图，一看就是致敬老版驱魔人的。
真的挺喜欢这个色调和质感的，主题也不错，但是叙事节奏感觉一塌糊涂啊😂特效化妆也一般😂
chick flicks 就是好看啊哈哈哈哈
有色调，但是氛围，刺激感，压迫感不够
一个反转，结束的时候，那句话，感觉才是最恐怖的…
有巧思，立意新颖，也够惊悚，但剧情有跳脱感，细节处还能更好。
还行吧，看完这电影，真觉得Woody Allen太会拍这类故事。
配角Danny也是个可爱的nerd。
[视]女主美式浓妆，真人CS，蓝精灵，片尾曲插曲还行
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