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.
确实前戏铺垫太长，高潮好像没有开始就结束了，影片节奏很慢，文戏很多，什么父子间的羁绊，家人的羁绊，兄弟的羁绊之类的套路，还有就是退役老兵复仇记其实好莱坞拍过很多次了，这次加入了关于病毒和疫苗的桥段，非常切合现在的真实背景，不免令人联想现今已经发生两年的疫情是人为造成，至于背后的凶手，估计将会又是世界未解之谜。
这可大名鼎鼎的杰克鲍啊！！！！！！！！！！！！！！！！！！！！！！！！！
预警3：人为财死，干事情还是得找靠谱队友。
两个女人是其实是金妖幻化来的吧，贪婪者哪配拥有金山？
反映人性的好电影，人总是被贪婪驱动着，却最终死于贪婪。
导演就鬼扯吧，挖来挖去发现下面不是金子是个金字塔。
镜头冷静，叙事稳当，导演关注了一个群体；但枪战让人出戏，突击步枪干不过手枪，装备精良的突击小队，干死两个，打伤一个，枪法这么烂么；三🌟纯属导演挑了一下病毒谁放的…
图金害命的贪婪。
从开头就猜到了结尾。男主过于简单善良。要金子不要命。
影片超过一半的时间就是男主一个人守着大金块，给自己打造一个舒适点的小窝，干掉有危险的流浪妹妹，驱赶想吃自己的豺狼，可惜最后还是被豺狼们吃了，然后归来的男配被另一个流浪姐姐干掉。影片很好的诠释了一个词“人为财死”！我给3星5.8分，删掉了！
这电影……退伍兵干的就是黑心活犹犹豫豫不专业，团队配合时间算不准，与警察枪战，在闹市区枪战，在老窝枪战，最迷惑的是为什么杀主角？如果拍爽片也不计较这些逻辑，可惜还搞一大堆文戏。是个渣片。
用完即弃算是美国经典主旋律之一。打来打去乱七八糟的不说，还强行安排了一个圆满结局，膝盖要不多中几箭真搞不来这操作。
满足贪婪的欲望前要先保住命。
特种部队医务官被逼退役，生活所迫去前战友工作的组织当雇佣兵，去柏林抓一个生化学家，取得资料后杀人，又被上司出卖，除了自己团灭，还被追杀，还发现生化学家是研制出病毒解药。逃回国后发现前队友没死，在利用自己且知道黑幕，幕后金主想用病毒捞钱，怕解药阻碍自己所以抢夺。俩人和解一起去找上司拉蒂斯，队友被打死，自己杀死上司。前30分钟光演男主生活艰辛了，节奏慢也略有点无聊，30分钟后开始执行任务，这部分还是不错的，算是有点精彩，只是最后队友肯帮忙的反转有点生硬。影片肯定不够4星，但3星够了，我给3星6.6分！
编剧差了点，里面几个转折牵强了些，其他都OK
前半让人感觉会有些深度，后半直接拉低一个档次。
看到肥佬拿着望远镜时，真是“人心不足蛇吞象”
剧情设定很讨喜，人性的挣扎很是亮眼，结局落了俗套。
2022013画面质感一分剧本加结尾一分，其他的都没有什么可说的了，末世放逐风格版的活埋
疫情当下的一部病毒阴谋片，故事还不错，开放式的结局，并未指明承包商到底是谁？不过想想，人家老美是资本国家，哈，那便是同一拨人了。
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