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.
也没有什么大毛病，就是在鸡毛琐碎的生活中谁不在修行呢。刺耳的电话铃，狗要绝育，丈夫的旧情，丈夫的无奈与出走。每一件事都让人心累。陈湘琪确实演的好
台湾片也开始这么“神经兮兮”了。婚姻本就是一场修行，得过且过。每个人都是单行道上的跳蚤，皈依自己的宗教。
回光奏鸣曲2之再给她一个影后……只是这样的片再拍一部的意义何在
真尼玛有病！记住这个导演！记住这个编剧！辣鸡！
最质朴的拍法，拍醉原始的甚至不加议论和解释得情感，不温不火。观看此便也事修行。
漫画改编，不看彩蛋你可能永远也猜不到花妞是谁，那可是……
片尾：幻想是一种浪漫的能力，它可以陪伴孤独，制造奇迹，愿你在每个平凡的日子里，每个四季三餐，都有人陪伴。
高情商：意识流，低情商：一团稀碎，全片就只有女主被关在阳台向外呼求的戏，有点跟主题搭上关系，其他的更像是在凑时长
剧情单薄，演员表现不错，创意十足，要是能有所延展就更好了。中秋唯一选中的电影，老少咸宜。
为什么要自欺欺人修行呢，为什么要保持体面呢，该做这些事的人并不是你呀～
编导犯了个大错，佛主曾规定修佛的人对狗应该是“不杀不养”。狗儿最忠诚讨喜。狗主人和儿女、父母都会生怨，但很少会和狗儿生怨。所以爱狗人士临终时绝大多数都心系狗儿。此时的心识若在狗儿身上，那就会转生为狗。
题材倒是挺好，但是拍的处处透着一股小家子气。
2022/01/13 首映會打卡....想發個照片紀念一下一直被判定違規真的無語。
还挺有趣的，比想象中有意思，确实不够悬疑和猎奇，但故事好歹讲圆了，甜圭不装蠢的片子不多，要珍惜
高情商：意识流，低情商：一团稀碎，全片就只有女主被关在阳台向外呼求的戏，有点跟主题搭上关系，其他的更像是在凑时长
如果我有错，会有老天用雷劈我，而不是看这样一部剧本没打磨过，节奏稀烂，强行剪辑，演技浮夸的烂片。
设定还是好的，就是看着有点无聊，也没觉得多搞笑。那个“绿植”总靠在冰箱旁边，一开始出来我以为她是冰箱来着。还有，如果是阿震觉得自己有病，而女医生一直觉得他没有的设定，是不是更合理一点？
可恶的是，她本守自己的本分，该做的家务没落，一副贤妻良母的样子。但另一方面明知道丈夫想要什么，却又不肯给予。还强迫对方和自己吃难吃的素食，喝难咽的果汁，还要绑着对方，连老狗也要阉了。这到底是为什么
古屋兔丸的原作+脚本，成定秀夫监督，本以为会是个如《性之剧毒》版充满猎奇X性X恶趣味X变态的「终极杀器」，结果呈现效果却出奇的差。Autassassinophilia是个极具爆炸力与挑战性的议题，但导演在表现方式上却过分注重于行为而脱离了对于心理因素的探究。且近期成定秀夫的选角一直是个谜，如今的田中圭已经「油腻」到不忍直视，却还一而再再而三的饰演人设很帅的「万人迷」角色着实违和。总结起来是要猎奇没猎奇，要表演没表演，要深度没深度，故弄玄虚，平庸之作。
修行，在一切时，在一切处，在一切人，在一切事。
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