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.
最后还留了个彩蛋要拍3
两星半。跟朋友在电影院前面看的无奈，后面不带脑子笑的很开心哈哈哈哈。这还不是万磁王这还不是万磁王这还不是万磁王？谢谢你，family侠
超级赛亚……算了，龙珠你们回去吧～漫威和速激梗恰到好处
片尾索尼克升级开挂变身，让我想到了《龙珠Z》的超级赛亚人。大反派操控巨型机甲，让我想到了《环太平洋》。金凯瑞大反派腾空而起分解器械，让我想到了《X战警》中的万磁王。在神庙中探险的桥段让我想到了游戏《神庙逃亡》。
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。
比第一部甚至还要优秀很多。纳克鲁斯和塔尔斯的新登场真的可以抓住好多人的心，蛋头博士在金·凯瑞的演绎之下也是更进一层楼。整部电影的角色塑造成功到无论是人类角色还是动画角色都极为优秀也极具记忆感。故事虽然依旧是寻宝式的老掉牙也没有带来新的创新，但是在每个可爱有趣的角色和特效再升级之下总是能够为观众带来欢乐。俗套大集合但又有谁不喜欢成功的俗套呢？
大闹婚礼那段明显就是水时长
最起码剧情前因后果可以交待清楚。（这居然也成了现在电影的优点）
6.6分。由一只刺猬变成了三只，同上部电影一样，本作最大的表演亮点还是金·凯瑞（可惜结局蛋头博士去世了，撑着看完整部电影的角色没了……）。台词Cue了一堆流行元素，剧情依旧子供向，依旧顾头不顾尾和难以自圆其说。
好久没看质感那么好看的ip电影了（但又那么一瞬真的觉得世嘉要和迪斯尼コラボ的错觉= =
《超级赛亚人索尼克》
其实，多出来的那只动物不是很必要。主要还是来看金凯瑞的，戏份确实不多。婚礼的结局充分说明，不要惹女人，尤其一个婚礼被破坏的女人。ƪ(˘⌣˘)ʃ后半段乏力了，总体来说还是可以哈哈哈大笑，很平庸呀。
这部根本就不是翻拍，是前传，很好的交代了为什么在盘丝洞里能挖出月光宝盒，为什么紫霞青霞共用一个肉身，最后芦苇荡紫霞起身完美衔接大圣娶亲的开头。应该是一部非常好的前传作品。不要用翻拍来看这剧就对了。有人说至尊宝丑，但是至尊宝本来就是一个芸芸众生中的凡人也不需要长的多出众。虽然特效和一些方面不太好，但是导演编剧 演员都很用心了，及格分还是有的！！！
起初看是为了达叔和九孔，意外还行。至少比隔壁的“倚天”行多多。
还可以吧，男女主不讨厌，能看~就是有点短，内容太少了
哈哈哈哈，越看越想入坑索尼克，
紫霞还挺招人喜欢的，整体有点尬，但还可以忍受，近期看了太多一星烂片，给个及格吧，吴昊宸继续努力。
索尼克都成超级赛亚人了，美国人是真爱龙珠啊
不了解这个IP，只是听说过。电影本身就算了吧，全是套路。
钱是真没少花，有些地方生硬有些地方费解。因为是童年的亲热，所以并没有太过认真的去针对，但完成得属实不算好。看着金叔这么卖力，真希望好莱坞可以对他好一点，再给他一些好的机会。
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