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.
从头到尾我都在回想这位纯爱男主究竟是TV版里的谁
hmmm 無感 打鬥遠比不上同期的鬼滅 不流暢 不爽 然後劇情就是狗血愛戀劇 在電影院看的 好想加速
火影的印记太重了，真纯爱战士，少量战斗场面，大部分应该着重刻画的都一笔带过了，剧情简单，就是一般的动漫电影
走出电影院才知道错过了彩蛋ಠoಠ 看到了娜娜米呜呜呜，yuta真是纯爱之force，我跟马哥都好喜欢Toge 咦
牛逼。跟日常追番不一样的节奏就好比一口气吃下了一周的糖量。日本对于「厌女」的文学面审视真的是防得一干二净，设定没法编得更好了。
执念。里香和忧太永远在一起的执念；创造只有咒术师的世界的执念……最后在悲伤无奈中释然
纯爱战士爆诞！
La defense 的ugc...全是1718岁的小孩。我们仨坐在中间跟着看一包劲。和第一季比差很多。安慰自己是去看情怀的。
很random地看了这部，这剧情真的有值得拍一部剧场版吗？
3.5。IMax影院看简直视听盛宴！角色塑造、声优表现、打斗场景燃到爆炸！但是问题也有，比如感情戏处理比较弱，老画面重复用，以及黑屏过渡太多。哎，虽有些可惜，但瑕不掩瑜吧！
我大概七老八十了还是会被“和你一起死去”的纯情戏码打动到！
纯爱战神真是杀疯了，原来竟是已骨诅咒了里香
终于见到活在大家嘴里的纯爱战神了！是我老公最近最喜欢的咒里面的角色哎！看完完全能理解我怕老公为什么喜欢乙骨，看着很弱，但是其实很强大。区分不了谁对谁错 ，不是为了正义，而是为了和伙伴们在一起，这样的主角人设很新颖。这部里面五夏五太虐，呜呜呜呜呜感觉等有正版了之后五夏五一定会在国内更加热门。一次一次放过，最后还是不得不亲手杀死挚友。5t5老师真的美强惨！和夏油杰的话，我可以接受5t5老师做花！5t5，狗卷，我的心动男嘉宾嘿嘿！
本来没打算看，别人负担电影票钱反正我动画看了就去了。
咒术回战的问题是过于混乱，揉杂了太多的东西进去，让人搞不清楚该作的重点。这理应是超越鬼灭的一部番，可是总容易让人看的摸不着头脑，什么时候该燃，什么时候该思考，除了五条以外谁强谁弱，完全看不明白。
乙骨的故事略顯無聊~自己說自己純愛太可愛了
在英国看的 台词出现pure love的时候 和我喜欢的男生一起笑出了声
不怎么好看…… 为了适应全球市场做了改编吧，配乐也比较一般😀
还行吧，整个就很快餐很简单很套路导致很平庸，配乐换人了？
roast duck
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