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.
如同所有的完美恋爱一样，故事始于那个邻家女孩
很不想这么说但是真的吃相难看
虽然啥剧情也没有，也不知道主题是啥，但是两个年轻的body相遇，就是火热。
直接跳到最后看结局，没想到新增内容真的就只有那几分钟和片尾ppt…
《奇巧计程车》剧集版经过大量删改然后添加些许新内容重制而成的剧场版。
肌肉骚话会耍帅，姑娘碰上得认栽。
我觉得mom比Taylor要hot是咋回事🙀
这个剧场版是来骗钱的吗，完全没有TV版那种有趣的叙事的感觉
看过剧集的话 剧场版只用看最后十分钟就行了
飞车还是很棒 感觉过了三百个圣诞节 但还是相当如坐针毡..
可惜了票钱
这不就是sp嘛，新镜头也不太多，还是tv版的留白动人
就为看Dani泡妞！故事内容很单调而且家庭矛盾很直白，啥都是直给，连绕都不绕的。
哈哈哈哈哈哈为什么男女主都这么矫情 我真是有点搞不懂怎么你们西班牙人的爱情都来得这么莫名其妙 改名叫隔窗做爱好了
一年只想看一部好看的chick flick怎么这么难，再无好看的青春爱情电影了对不对，虽然颜值很高但剧情看的真的各种皱眉，唯一的亮点片尾还挺可爱的，小儿子和女主闺蜜这对比较好玩
小百姓美女和大企业富豪的爱情对我们没有参考价值啊
没有剧情🤭 PS:我要是有长这样的男闺蜜干嘛不吃窝边草啊😇
情节稍微有点老套，古早。
一年只想看一部好看的chick flick怎么这么难，再无好看的青春爱情电影了对不对，虽然颜值很高但剧情看的真的各种皱眉，唯一的亮点片尾还挺可爱的，小儿子和女主闺蜜这对比较好玩
清水版在b站上看两分钟剪辑 其余的就是在各种地方做…但男主是真的帅 跟after差不多
Copyright © 2015-2023 All Rights Reserved
