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.
孙锡久太有魅力啦！看台词好的人在一起对戏真是一种享受。
你为什么会选我？
作为电影来讲确实不咋地，但男女主的表现都蛮好的，好爱全钟瑞啊~
都是老掉牙的桥段，用约炮软件找真爱，骗鬼呢。
久违的韩国爱情电影，上次这么能看下去的好像还是金敏喜的《恋爱的温度》。剧本只能说中规中矩，先性后爱的戏码，我上高中那会好莱坞就已经拍了个遍。但全钟瑞的表演真是每次都如此灵动，孙锡久更是随便迷迷糊糊的演会让你选他也不选玄彬，尤其两人酒桌上的一唱一和，哇，搭戏绝了。
在521这天看一部所谓恋爱缺席的电影，真的好舒服呀。虽然套路满满，然而爱情动人。朴宇里和咸子英，能通过一款配对软件相遇，能在一次次喝酒和性爱中肆无忌惮地聊天，欢笑，敞开自己，了解对方，这是多么难得又珍贵的事情。他们以为那不是恋爱，其实爱情就在两个孤独男女相互慰藉和取暖之中悄悄来临。孙锡久，记住这个名字了，看不下去的《我的解放日志》中的前黑社会老大，一个让人越看越舒服的男人。全钟瑞，《燃烧》和《电话》中表现令人惊艳，在这部电影里也是语出惊人，特立独行啊。
事实证明，即便是孙锡久也hold不住锅盖头…
奇奇怪怪可可爱爱
也算是个名人传记的，毕竟Kurt是有天赋的，成名是早晚的事，当然伯乐也是很重要的
巧了 刚好是春节看的。有幸欣赏到孙锡久的屁屁和大腿肌
交友软件只是个引子，换成在朋友聚会上认识也行。剪辑老套，完全是韩剧的手法。
感觉全钟瑞是去玩了个票，谈性没谈好歪到爱上去了，爱也谈的俗套，不过全钟瑞演的挺好，确实是有天赋。希望多接点有挑战的角色，这个还不如电话那个。
都市现代人的爱情产生的来源——软件 片中有蛮多有意思的对白 基本上全程都在对话 这部导演摒弃了自己独特的风格 拍的蛮爆米花大众化的 全钟瑞那脸那演技就真的很灵
拍拍贫乏都市的话痨片，但是不是韩国也是县城感么，就乡村爱情。女主大概就是中医肾虚血虚感。但是男女主中间喝酒聊天的戏拍的非常有意思，金句频出。
全钟瑞总给人一种“疯女人”的感觉，气质很独特！结尾俗套了。
去见朋友也不一定能说出实话呢。这缘分啊，只要时机一到，就会相遇。
6分多有点低了，试问最近两年真正优秀好看不冗长的爱情电影看过几个呢，一只手就数的过来了。一个半小时的轻松愉悦爱情小品，看完心情也有点好。
美国梦从来都不只是一个梦，是一个个真实的故事。
和具氏完全不一样，像是会摇尾巴的大狗狗，孙锡久啊我的做梦素材。
很喜欢，看着很舒服观影体验很不错，不过作为性主题还是清淡有余。本来性与爱就无法分开谈论。孙锡久全钟瑞我都太喜欢了。
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