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.
哈？纯爱最重要的就是留白啊！留白你懂不懂啊！双视角叙事的电影很多，拍得这么扼杀想象空间的少有。
不要抹去一个人存在过的痕迹，死亡不是结束，遗忘才是。我好希望在自己去世之后有人可以像真奈怀念堇一样怀念着我，找寻我在这世界上存在的印记，试图还原真实的我…
始终无法理解法式幽默，机器人还是赶紧统治人类算了
特效很用心，充满幽默感的电影。 或许表达的东西太多了...........
机器人挺好玩的，吸机油跟吸可口可乐似的，庄周梦蝶也是脑洞大了
法庭上，那句重复不断的证言显得如此有力，诉讼时效过去了，不代表事件就结束了
电影海报电影片名各加半颗星～
如果你喜欢无厘头的荒诞主义笑话，那就来看这部电影吧，永远不合时宜的浪漫和冷到起鸡皮疙瘩的笑话不会让你失望。
当你的生命完全虚拟时，你要怎么吻一个女孩子。
很好笑嗷 好喜欢那个吸尘器机器人和爱因斯坦
真实到压抑。主角也没有任何的光环，蠢到连个基本事实都说不清楚，看的让人着急
尝试寻找个性的直立愚人 所有的破旧立新者都是勇敢骑士
还行，就是最后突然变成幸福四口之家也太突然了。明明之前互相都跟别人好着哈哈
设想了AI过度依赖造成的危机，讽刺了人类对动物造成的伤害。结局确实如电影名字一般，巨大bug。
太长了。但是还是值得看，以万物为刍狗的何止天地。
还有芯片不是还在吗？为什么家里的机器人好像只是修好的？邻居的机器人好像还连修都没修？
有点不知所云，但导演对中国文化历史，感觉还是懂一点的哈哈
岸井雪乃演技很不错算是惊喜，相比之下美波的话在这部片给我感觉路还有点长。
看了一会儿看不下去，节奏慢，但不是故意的慢，而是空洞的慢
他们都说一副长着拿奖的脸，故事有些复杂倒也讲清楚了，时间稍长。
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