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.
是部及格的爱情喜剧片。欧文威尔逊现实生活中不认女儿却总在电影丽演好爸爸，好违和。
JLo还是还是很有舞台魅力hhhh剧情没什么想说
在小时候，常听到这样一个问题，在爱你的人和你爱的人中选择一个，你会选谁？那时，我选择了爱我的人，我期望得到父母的爱，兄弟姐妹的爱，朋友的爱，但长大后，我反倒开始慢慢选择我爱的人，电影中有这么一句，好像是这么讲的：当你保护自己免受伤害，到最后，你会失去所有的快乐。这一部影片，告诉我们要大胆去爱，到最后，爱一定会给你好的结果
每首歌都好听，不想和诺丁山比，诺丁山更弱智
剧情好玛丽苏狗血言情感，不过作为爆米花电影还是相当合格的
欧文……我滴欧文（抹口水）……巨星配居家男其实也蛮有趣
幻想和现实是需要交相呼应存在的。
《诺丁山》之看演唱会撞大运，为了J.Lo勉强加一星
歌还蛮好听的，情节么，也就这样了。但是，男女主实在年纪太大，不适合这样的故事。帅哥猛男94年滴，选角和设定都难免生硬了。
女主好辣！但是……加了歌舞总有种印度片的感觉
男主帶好友回家過聖誕，本來打算假裝是脫單對象，可是因媽媽找來了約會對象而告吹。豈知好朋友不只是朋友的表象，早已被全家人看了出來，全家人拼命要把男主跟好友湊成一對，只有媽媽要男主跟別的男人在一起。與此同時，男主跟約會對象又是喝聖誕調酒，又是滑雪親親，還來電到考慮搬回家住！好友原本聽了也給予祝福，然而聖誕節越來越近，怎麼可以只顧著約會呢？自然是待在家裡，讓家人製造跟好友相處的機會啦！兩人因工作意外之故，拍起了性感模特照，性感耶！怎麼可能沒感覺？！不過拍完後，約會對象邀約，好友也有事。眼看兩人要散會，全家人趕緊一邊破壞約會、一邊逼好友正視己心且採取行動！全家人助攻啊！後來連約會對象都推一把了！男主只好從了！弄假成真不好嗎？連片尾曲歌手都脫單了啊！麻煩把約會對象Luke Macfarlan讓給我吧！
虽然都能猜到整部电影说的什么，但JLo确实好看，他们俩也有丢丢配，作为情人节的电影，也很适合哈哈哈哈
插曲很好听，女主很漂亮，剧情老套但还是看哭了。 片尾的短视频里81岁的老夫妇很可爱。
此片意义在于让人意识到，圣诞Vibe已开始，单身赶紧搞CP。国外网大水平。
15-080美国《平行爱情》
女版“霸道总裁爱上我”，男主的鼻子太抢镜了。
过于冗长乏味，除了歌舞部分整体很无趣，不能理解大明星爱上一个平平无奇古板守旧的高中数学教师，尤其他还想让一直渴望得到主流认可的歌手女主放弃格莱美……
只想说，巨星都老了，我可能还会看到他们过世……
看着感觉挺甜的~ JLO真的好美~这部电影完全适合她~服装也很好看~
那个Bastian油得都能炸油条了，发现拉美那边好像特别喜欢这种类型的男的。这才上映几周，根本没啥人看。我怀疑是因为大家不想看JLo被young版特朗普给拱了。
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