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.
Man from everywhere赚赏金，东京那个衰仔刚耍完帅就被撞飞了哈哈哈。这个系列可以继续做下去的，杀手网络已经初具雏形，后面二人组被来自世界各地的人追杀，还有的玩儿呢！
为啥分那么低，我觉得挺好看，就是无脑型的让你大笑风格，凯文这个话痨和冷酷杀手形成特殊的火花，笑点都是他贡献的哈哈哈
看到伍迪哈里森出场就知道这片好笑😂拳馆那段镜头很好，武器也比较有创意；Penny客串很惊喜，她确实适合这种粗犷姐妹角色；The man from Tokyo 是就算高糊画质惊鸿一瞥都掩盖不了的帅，看演员发现居然是山P，难怪，倒回去再舔一下屏！
白开水一样的寡淡 为男主看的 全片也没感受到男主的魅力
低配版王牌杀手的保镖，剧情已经彻底放弃治疗。两主人公真是做到了不起一丁点儿化学反应，大家各演各儿的玩。另外山下智久塌房以后只能来客串这种角色了吗。
低配版王牌杀手的保镖，剧情已经彻底放弃治疗。两主人公真是做到了不起一丁点儿化学反应，大家各演各儿的玩。另外山下智久塌房以后只能来客串这种角色了吗。
爆米花电影，主要是陪姐姐看山P客串去的。对kevin hart的搞笑风格不是很感冒，过于叽叽喳喳办傻。刚开始他被误认为杀手那段笑点还蛮多的。后面就有点一般
咦這麼帥的man from Japan怎麼一秒就沒了！ 長鏡頭打架很像Kingsman第一集
这个世界观也很宏大 每个地名都可以来一个男人的话 就是无数集 完成度方面显然不如疾速系列 胜在个别桥段和台词比如
拳击馆的part好精彩
一起看的朋友边看边说他猜的接下来要发生的桥段…全中…可见有多套路。但Kevin Heart的身体搞笑真的有点好笑的。
惊喜是看到了大爆炸的佩妮，哈哈，好喜欢佩妮哦，加一分
2022-06-25
跟凯文哈特站在一起，伍迪哈里森都帅了起来。
这不比侏罗纪好看一万倍！本来毫无期待点开打发时间结果意外地搞笑
PS:男主和女主都好有气质
达成杀时间娱乐笑果，凯文哈特相比其他作品没那么逼叨，和哈里森化学反应也还行，最后那段长镜头不咋地，但最大化逗逼程度。及格线。
看到伍迪哈里森出场就知道这片好笑😂拳馆那段镜头很好，武器也比较有创意；Penny客串很惊喜，她确实适合这种粗犷姐妹角色；The man from Tokyo 是就算高糊画质惊鸿一瞥都掩盖不了的帅，看演员发现居然是山P，难怪，倒回去再舔一下屏！
有几个地方还挺好笑的，不过整体俗套偏无厘头，可看可不看吧。
三部电影，同一个剧情，除了动作戏外实在有点无趣。
Copyright © 2015-2023 All Rights Reserved
