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.
real typical broadway show
崔志佳，有个喜剧综艺出来的，很搞笑！！大潘在就更好啦
很土，很 gay
怪不得腰子姐的腰子卖的好啊！这腰子真好，又大又白！要不是结局部分还有点意思的话，我就两星了。
虽然是一部网大，可笑点该有的有，剧情也连贯，让人看来了很开心。
故事比较完整，能做到这一点，就已经超过了今天的绝大多数网大。最后的反转有点意思。缺点就是有点平，笑点有些不足。看到这部片子的时候开心麻花一部院线在上映，还有一部春节也要上，但口碑却差得很，想起这几年开心麻花出的一堆烂片，恐怕连这些及格的网大都干不过。
上海lockdown的日子里看一部这样的电影，真想感叹，生活如果能像在迪士尼电影中那么美好就好了。
“打开心扉的大门”……请一个稍微有点文化的编剧就这么难嘛
好于80%的电影，节奏好，不尬，崔志佳的导演水平远远大于他的演技。
谈不上差，但是这种电影也就吃吃饭乐呵乐呵！
还挺有意思的，起码一个故事讲下来了，比那些花里胡哨的大电影强多了。小烧烤必须支持一下啊。就是这个结局的反转感觉有点突然。
我觉得挺好的，及格的作品，为了拉高一下评分，多一星吧
全程都不是围绕烧烤斗法，陈旧的网络段子，短视频式的视听设计，几个演员长得鬼斧神工。
好比旅游到了某某地，唉，我来过了！但再也不会来！！！
【2021.11.19】
国产现代片儿需要解决的一个问题是可信度，先把可信度问题解决了再玩梗啊，要不然看着累
虽然是三星的质量，但是带给我的快乐可以加一星，其实就是加长版的小品。生活中需要一些快乐。这种毫无负担且并无大硬伤的网大，可以支持
作为网大很好了，超出预期，比很多龙标电影都好。立意不俗套，结局也不错。
这是要凑东北夜生活三部曲的节奏啊，乔杉的洗浴之王，佳佳的烧烤之王，沈腾来个歌厅之王，齐活儿
崔志佳自导自演了一个不错的片，秒杀一众东北片，我被崔志佳圈粉了。
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