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.
夏油傑LDH味太重 需要和good-looking-guy五条悟老师在一起中和一下😌打戏好看！病娇发达国家的专业素养令人服气。
开场还是很友好的，各种解释性的叙事，期间能看到好多日漫的元素，尤其是幽游白书。随着人物逐渐的增多，就知道是在为粉丝们考虑了，有些人物的出现对于我这种初来乍到的人来说实在是太突然太无用了，整体观感不如鬼灭之刃的无限列车。
除了纯爱战神那一段有点cheesy整体是很好看的 竟然在电影院遇到了那么多宅男宅女
乙骨忧太，最高だ!
只要是纯爱的话，不管开挂多少次都是被允许的喔！♪
乙骨学长 请问你这一年 经历了啥
这超燃的剧情，这超强的声优阵容，我实在找不到给4星的理由
queerbaiting 鄙视之 我愿者上钩了 鄙视自己
你们纯爱了不起啊？恩...可能，确实...
希望作者能考虑一下把乙骨悠太的设定改成福冈人，仙台人感觉土土的不符合帅哥的气质。也不知道纯爱这句台词谁想出来的，就算是也不能说出来呀。//原来是原作者想出来的。respect，纯爱战士 怪害臊的。
真的太喜欢了！很还原，打斗也看得好爽～乙骨真的能把人帅死，拉着没看过漫画的对象一起看的，之前一直在念叨想看东堂，乙骨觉醒以后他一直在夸，笑死我了hhhh还有“我们就是纯爱”，莫名应景520了（真的是恰好今天想看
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。
香香鳏夫/纯爱战神赛高！！！你咒唯一能打的bg啊啊啊！！！！
2021最后一部 @T•ジョイ品川 IMAX 哪里有动画版好看……
剧情不是很流畅甚至有些潦草，不是很吃omega性格配alpha战斗力的人设但亲上里香獠牙那段着实cult到我心坎里去了。。
有请夏油杰先生跟万磁王老师进行思想交流，你们一定能为人类打造一个美好未来的！加油！
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
The true love that is pure ideology
纯爱战神，适合情人节看。五夏，唉 意难平。
骨子哥喊出“我们是纯爱”的时候整个电影院都绷不住了
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