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.
星期六凌晨看猪猪侠被荷兰虫气到的部分在《神秘海域》重新被他拉好感度。
萨拉的三次出走，代表了她成长的不同阶段，是很合理的。
没玩过游戏。电影本身就是标准的好莱坞流水线商业片，四平八稳没啥惊喜，剧本也很套路，和二三十年前的寻宝/冒险故事没差。所有人都跟过家家似的。圣家堂很美。荷兰弟都长到需要别人演他小时候的地步了，有点…hmmm感觉怪怪的。我总觉得他还是个kid，不管干什么都像装成熟大人的高中生，让人忍不住想撸一把他的头毛说句how cute然后自己该干嘛干嘛
不能喷蛛丝的荷兰弟比较适合 这个故事也让我想起了七宝奇谋 就是女派都比较丑 另外 给电影打字幕的孩子们 你们就不能把宋体换成黑体吗
好喜欢男主，现实中很难有这么好的男人了吧……
算是及格线商业爆米花，不带脑子看看放松脑子（所以到底有没有脑子）
看似平平无奇，甚至玛丽苏，但后劲好足。
丰富的冒险元素，优美的景色风光，轻松的故事，精彩的动作，对一部冒险片来说，难道不已足够？
一个自甘堕落，放弃生活的女孩被一个不计前嫌，一见钟情，无私包容的男孩拯救的故事，没啥跌宕起伏，运镜和风光不错
没玩过游戏把它当普通冒险爆米花片来看还是及格的吧。三月了，一共才看了四场电影。今天是点映竟然满座，许久没机会进电影院的人都憋坏了吧。
纯粹的爆米花电影，马克加荷兰弟的老带新组合挺神奇的，情节也一塌糊涂，和速激上太空有的一拼……也不知道荷兰弟拿到什么资源了，无颜无身材，演技就那样居然最近还这么多片子……
23#神秘海域 2022.05.08
这，和《平凡岁月里的温情》如出一辙啊！！！
有的人被金钱主导 有的人被荣誉主导 有的人被情感主导 还有的 啥也带不动
2.5；解谜也太无聊了，动作戏说是致敬成龙但也差太多了吧。。。
我爱的是你，不是你的过去，不是你的光芒，只因我爱你是我遇到你之后最珍贵的信仰
我没有玩过这个游戏，对游戏剧情一窍不通，当做一部冒险动作电影来看 ，看完了抢先版感觉一般般，剧情老套，就是爆米花指数很高，荷兰弟很卖力的在表演。
剧情其实一般，不过整体观感不错。所谓“神秘海域”但是对海域的描绘很少，在巴塞罗那的探险倒是挺多挺精彩。整体节奏不错，紧张刺激，不拖拉，不过某些细节的表现也是比较俗气，比如到哪个国家就用当地的特色音乐表现一下，好莱坞的这种手法好像一直这么俗。荷兰弟身材越来越好了，漫威时期果然练的不错，身手也越来越好了，感觉以后饰演007都可以了，哈哈。。沃尔伯格宝刀有点老，动作戏已经很少了，不过气质犹在。女主感觉又好看又不那么好看，倒是和电影的气质比较搭。
真爱打动了我，所以三星鼓励。看日出的浪漫，朝阳下亲昵的甜美梦幻，再加上好听的歌，都可加分。西部片感觉，加上女主的颜和身材，罗衫轻解，诱惑无比
福音小说，世上有很多很多像安琪这样深陷苦难中的女孩，却不会有那么多像迈克一样至真至爱的男人
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