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.
2.5 故事线简单清新 但确实蛮无聊 打发时间可以看 主配角的颜值倒是很在线
感觉被封面欺骗了……不过还算有爱温暖，但没有灵魂。
又是那种“我喜欢我最好的朋友但是不敢表白怕以后分手了连朋友都做不了”的套路，只是gay版而已。怎么gay们找对象都这么容易，有一个这么包容、充满爱的大家庭真的很难得。看来爱情这种东西有时候真的得靠别人push一下才能成。
1.5倍速不影响的难看，边看边把汤泼到了电脑上 55555555555
一部适合圣诞节观看的爱情电影，温馨舒适，非常喜欢这一大家子友爱互助的氛围
平庸至极 全员工具人 所有人都非常纸片人 毫无个性可言 剧情四平八稳 基本前10分钟就能猜到所有剧情了 感觉剧本像AI自动生成的
老套路的圣诞电影了，但过节就想看点无脑开心的。而且片中帅哥好多，两个主角都很cute.三星还行。
一整个合家欢言情cliche🙄单身狗看它简直自取其辱，扣一星
甜晕了，I need this in my system for the damn whole December
合家欢的圣诞gay电影，能拍出来就已经心满意足了，要啥自行车啊
圣诞将至，温情的主流同志romcom。没有悲催童年、自我摧残、家庭斗争… 爱上了就因为你值得。
好温暖的圣诞调电影～反正我很喜欢hhhhh
Netflix年末日常圣诞合家欢电影“我说我们是朋友 大家说我们要当恋人 甚至我的约会对象都说我们该是一对”CP粉狂欢就对了 就是男主侧脸仰头实在有点像司徒建国 让我频频出戏
一部Happy ending的电影!太喜欢里面的氛围了!家人朋友,家人的开明与爱 ，朋友的支持与鼓励，安排的对象也衷心祝福与助力，没有复杂的剧情，简简单单的一部圣诞节喜剧片，后悔没有早些看，还有感触最大的就是nick一直的陪伴，9年，从知心好友到爱人，现在的爱情很脆弱，这部电影做到了，世界上需要更多这样的男人！
可能这就是给Rom com吧咱也不懂但男二未免有点太炮灰了，整个作用就是让男主在一起是吗
和Karmobei一起在圣诞夜看的
我太爱这种合家欢了。不管是国内国外，同性恋异性恋，过年一样要被家里催婚，太real了。james有点过于性感，只怪你来晚了9年。
又好朋友到情侣的转变这种情节真的很让人拒绝，不过两个人发糖太少了，很多情节都是在说男主和家人和约会对象的事情，明明两个人之间还可以有更多的心动情节安排，不过颜值可以了，最后也是HE！
还是很有诚意的一部作品。主角颜值演技都在线，看时心里真的会有触动……
最近看了太多国剧，都已经忘了英文怎么说，找两部恢复一下听力。
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