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.
除了钱老板被吸血的屁股【确实会被屏幕外的txl无限吸血】，不知道这部影片还有什么看点？探险就像儿戏，吐槽都不到位，只能用爱情来解释奇观，到底嗨个什么劲。
搞笑之余，太过庸俗。Sandra表现很一般，Channing除了秀身材就没剩什么了。全片为数不多的记忆点就是皮特甩头发吧。
在娱乐性上比<神秘海域>有意思，常看电影的话还能找到一点小彩蛋。
看一看能让人笑一笑，说明片子还中规中矩可以一阅的
桑婆还是厉害，不管什么年代演这类型电影都自带好笑滤镜。
比《神秘海域》好看N倍，Sandra和Channing配一脸！
冲着演员和题材，才看的这片。……布拉德皮特，耍帅十分钟，一枪爆头；桑德拉布洛克，无厘头的喜剧女王；哈利波特，反派，呵呵……探险的剧情也是弱爆了，网络大电影
皮特的戏份最好笑蛤蛤蛤蛤蛤蛤....钱老板42岁的teenage（。一直感觉他还是龙虎少年队那个比，但是桑德拉布洛克有点敷衍了
completely clichéd adventure plot, mediated by actually funny repartees.
我觉得不带脑子看的话还是挺好看的……喜剧爱情动作商业片 看看美女挺好 虽然故事一窍不通…..
开始好笑的地方还挺多的~后面就陷入一般化了~有一说一，宝藏最后是贝壳这个……虽说很精神化，但总感觉有点令人失望~
哈利这么蠢，皮特他真的谢。爆米花的节奏不错，没让人快进就成功了。
继地心引力之后，桑姐第二次掉到水里然后重生！
“我因为太害怕在生活中再次受到伤害，所以就停止了生活，看不到眼前美好的事物。”
神雕侠侣yyds，最后活死人墓逃出生天的方式一样一样的。布拉德皮特的戏份太少了吧，钱老板多露露啊，只露背面算什么回事，桑德拉布洛克这类角色真的驾轻就熟，就像刘涛演什么都像安迪一套路
本以为会是一部屎尿屁混杂的爆笑喜剧，没想到没那么疯狂搞笑，冒险看着也很小家子气，这两点融合到一起倒是恰如其分，也算不功不过了。
不是网大却胜似网大，说它无聊也算我瞎，不推荐…
依然是过时笑点的堆砌，最大亮点可能是皮特的片段。
本来就够扯了，布拉德皮特还尼玛又复活了~桑德拉布洛克也是神，快六十的人了，看着也就三十多，科技改变容颜吧。
从两个人共进古墓开始到地下河我就怀疑我看了个神雕侠侣
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