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.
和娃一起完整在电影院看过的第一部电影，还有6个小朋友一起，小朋友接受度很高，适合亲子吧，当然很多情节大人都能想到
虽然不知道为何韩丁纳这么有钱，但娃看的挺开心，主题曲不错，liberty有点…
小宝居然看到不敢看
还不错，故事完整特效精彩，狗狗也很可爱。毛发细节做的也很好
这次疫情让“西方发达国家”原形毕露了，而在亚洲、尤其以中国为代表控制住了疫情，导致西方人心理不平衡。亚裔在欧美所遭受的仇恨排斥前所未有。而好莱坞也开始运作，不断在好莱坞电影丑化亚裔，不管什么片子，反派总有亚裔，将亚裔塑造成危害全世界的群体，本片就是丑化亚裔的其中之一
一部剧情完整、制作精良、充满政治隐喻的开年大作。
天天果断炸飞机是最燃的一刻，girl's power
能看得出诚意满满，惊觉Kim在里面配音，在想会不会是家里某位小可爱也喜欢汪汪队。（和外甥第一次在电影院看电影）
制作挺不错的 剧情有些低幼 适合小孩子看的
从没认真看过一集，但带孩子来看这个，给这小不点儿咯咯乐的，感觉真心不错，当然清洁工和潜水艇一如既往没有什么戏份，就像当年的吴昕和海涛。贝贝这个角色真好，坐骑差了点儿意思，整个F本儿就进市区了，看来冒险城最多就是个二线了。新装备们酷炫拽，老男孩儿也看得目不转睛的。最后说一下主旨吧，是和反派斗争，更是和自己斗争，还得是莱德政委，思想政治工作言简意赅却相当到位。
虽然低幼但能看下去，汪汪队装备集体更新，队员又多了个贝贝，周边又可以大卖了
假期第一天看的。还不错。角色有成长，也解释了汪汪队的经费来源什么的。
陪女儿在电影院看的第一部电影，小家伙紧张得手心全是汗。看完问还能不能再看一遍，她还以为可以像在电脑上那样随便看，😂。直到片尾字幕出完才依依不舍离开。
必需五星，给小朋友很好的教育体验，让她懂得了什么叫有困难不要害怕，战胜自己，超越自己，不论音乐，编剧还是色彩等都很棒！一定要电影院看才完美，我喜欢电视剧和电影院主题曲一样，这样会有亲切感
2022.1.27 yiyi第一次在电影院看电影。老母亲竟然看到泪目，我也很喜欢汪汪队啊！
无聊。故事整不出来新意就不说了，动作戏还给我拉胯，这还有啥看头。情怀完全没煽起来的老三人组？毫无化学反应的新三人组？其实这些都还没啥，最让我无语的就是第二部里挖的那么大的一个坑，你给我这么填？恶心！
第一次在电影院陪孩子完整看完一部动画电影，感觉还不错。小宝想睡觉也坚持看完了，出大厅人都是迷糊的……
子供向的东西 但是剧作完整 特效好看 各种机甲变形酷炫但过满
宝宝最喜欢的IP之一，也是第一次带他去电影院看电影，动画制作精良，剧情也很有意思，不错值得推荐！
在里面看到了酷似特朗普的市长，像蝙蝠侠的主角和拼命的电视民工。
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