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.
超级赛亚人+万磁王+神庙逃亡+环太平洋。
毕竟看一部少一部，以后只能看达叔和星爷的经典电影来怀念达叔了，唯有达叔和星爷合作之电影，能做到每看一回笑一回，又会有新感受，重点是百看不厌，非常难得。
在宫殿那里就更离谱了，明明可以用速度比蛋头博士更快拿到翡翠宝石，但还是选择看着纳克尔斯和他聊天。
冲着达叔看的，结果惊喜！
为了sonic和金凯利，看吧~蛋头博士套拍了万磁王和钢铁侠，sonic套拍了灭霸和超级赛亚人~人家灭霸才五个石头，你七个~~
官方很贴心 只需要看结尾2分钟像素和1分钟彩蛋就可以了 不是吗
刺猬与蛋蛋的对决还没完，瓦乔夫斯基家又添了新成员，能量宝石重现江湖，钢铁侠仿制品大展雄风，大象遇到了小老鼠，金色索尼克尽显威武，刺猬又赢了，一套交通信号灯集齐，力量智慧速度联手，高山滑雪海里冲浪西伯利亚酒馆斗舞，玩乐之余给了坏蛋二次打击。
自此，大话西游三部曲圆满了。为了致敬达叔，这部电影是免费的。虽然猴子脸上的毛有些少，可是这部剧的诚意足够。
金凱瑞比索尼克可愛，無人機現在是武器的最高形態了麽。
怎么分数这么低？我觉得比第一部好看啊！当然剧情就不会有多波折 在他们用光圈来到婚礼之前都还是单薄的蜘蛛侠无脑拯救社会的烂俗剧情 但是和黄色还有红色刺猬加入了之后就精彩多了 做了好朋友大家相互合作打败大boss的本来就是喜闻乐见的好套路！Tails还那么可爱！（如果是女孩子就好了ww）特效也很不错啊 超级赛亚人金色索尼克帅呆了！下一集再变强变色吧孩子！
4.都2022年了，反派到最后还非要搞一个那么又大又蠢的机甲，啊，真是……
超级赛亚人+万磁王+神庙逃亡+环太平洋。
最近看blockbuster看少了看这部觉得很尬 但也想通过这部讨论一下白男演员的生存空间 james marsden之前是和alexander scarsgard演稻草狗的 现在只能在这种和跳跳兔里打打酱油 感慨一下白男没啥特色演员花期太短了 照样无聊 原声甚至没第一部好 睡得很香/AMC Newport center
相较于自己小学时候看的蝙蝠侠黑暗骑士系列，这种片应该只适合幼儿看
这个彩蛋！是夏特要来了吗？！哈哈哈
游戏改编，剧情比较低龄，就是动物版的超级英雄，超人总动员+闪电侠+万磁王+万神殿+复仇者联盟……总之就是总有映照，看着玩就好。金凯瑞还是那么表情丰富。
童趣而可爱
很多线索设置是能圆得起整个大话西游的故事，女主选角也对得起观众时间。
舞，酒吧“皮冯卡”，索尼克与塔尔斯精彩双人舞。
没错 这其实是平凡人的故事啊
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