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.
3.5吧比起期待确实差了点感觉…案子有点弱…某关键角色的演技也还需要磨炼…而且太明显是为了捧人塞的和周围不搭…西岛叔有一段把我看哭了演得真好！！小花演得很元气可爱我永远喜欢オヤジギャグ！
还是那个配料，还是那个味道。追求真相到底是不是正确的呢？错的是那些包庇真相的大人们。对于守君来说，以后的日子是不是只能在忏悔中度过了呢。
真相不一定能给人带去幸福，但是可以确定的一点是，谎言无法挽救任何人。
真的又烦人又贱又可爱……
不能带脑子看，但讲真作为饭看得还算开心
两个小时的电影，最开始的案件太敷衍了，后面事件的真相也挺无语的，比较牵强
spoiler alert 大概就是两个男宝杀人全村帮忙包庇的故事😅
不得不说这个案子结尾收的还不错。但是又有点y的悲剧那个味道了。中间插科打诨稍微有点过了，然后后面走马灯一样的回顾各种老人。香川叔真的老了~但是这个系列确实也是一个经典了。
金田五这个演技太辣眼睛了，这就是个普通的sp，不适合大荧幕
比起看过的其他的电视剧续作电影要好得多，但故事还是单薄了点，全靠人设在撑
最后的反转有点意想不到，山本属实大冤种了😅在我思考怎么重判的时候，告诉我 哦 诉讼时效过了。一些复杂的案子往往需要简单的判罚？以及强行让三个女主都出来一遍有点没必要？
3.5，比sp好看，希望99.9能一直拍下去，片尾曲永远都是无可替代
中毒的村民没有家人吗？全村人一起伪造证据发现不了？
22.6.14看完
西岛秀俊好帅好帅！其实真相不能说出人意料甚至可以说很套路……反正就是多重反转，感觉就是个加长版sp……道枝骏佑戏份不算多但是角色挺重要，还有一些人的客串。
四星全部给奈奈！立花律师才是感冒灵系列最配的相手最佳的拍档呀！
有一些无法get到的日本人的笑点，让我觉得必须再努努力学日语了。
金田五这个演技太辣眼睛了，这就是个普通的sp，不适合大荧幕
但是总体还是好看的
因为润润加一颗星 电影沿用电视剧套路 展开毫无意外少了一点新意 剧粉来说还算可以
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