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.
十分的lgbtqia+，这在米国也是小众电影啊。。。
诗音对悟美幸福的执着、遇到问题就唱歌的原因太暖心了！而且唱的几首歌都挺好听的，歌词也很有意义。
既然已经把同性讲得那么日常普通毫不违和，那就抛开同性话题讲电影，就是那么普通毫无特色。
AJ说自己的锁屏壁纸是泰莎汤普森的时候有被笑到，原来编剧也在玩梗。
花了呼哨的看着闹心，欣赏不来这种表现方式。姬就姬呗，老不停的叫嚣，挺闹心的。
很简单的作品但很放松很开心，5.17🌈听Phoebe Bridgers 和girl in red，今天也是合格女同
我一点也不喜欢自己的青春期，并且才意识到自己的青春期失去了多少美好
双关之王的画很有趣，画面和色彩很青春很🌈，故事普通甚至有点无聊。
美国高中校园也越来越套路了，泰迪情侣、母女关系、大麻、浴室亲密，下饭看看挺好的，轻松愉悦的观感。
轻松的lgbtq糖水片。那对顺直情侣也太搞笑了嗲…
岁数大了 曾经最爱看之一校园青春爱情搞笑系列看不下去了。
是我今年看过的比较不错的动画电影，虽然国内一直还没有上映。剧情不拖沓很有看点，对于科技的设定看似稍有老套但是还是让人耳目一新。土屋太凤献唱的两首歌也是特别好听！甜甜的纯爱动画电影，观感还是十分不错的～
dzyn forever the best in my minds eye.
轮胎果然是田径队标配么hhh，很美式青春校园加political correctness的电影，大家都是青春可爱的年纪
笑点倒是密集。
so cute 色彩鲜明 羡慕女主11岁就知道自己喜欢女生
前面尬的想扣地 后面结局反转确实牛逼 反正我是看乐了
故事很一般，很套路，而且很少在美国青春校园片中看到这么普的主角团
也许我太老了，看见这种青春洋溢且不管不顾的爱情故事总是特别感动。不过她们是幸运的，能够得到家人、朋友、同学的接受和认可，那个可以随意洒脱并不歧视酷儿的社会，真让人羡慕啊。
加州甜妹的亲情，爱情与友情
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