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.
美国拍主旋律，行！中俄拍主旋律，不行！我们精美真的太厉害了！
俄罗斯战狼。前面情感戏太多，后面战斗戏又太夸张。动作戏没爽到，军事戏又没啥系统军事技术。自high片！但老毛子军事上还是一直很强硬的，绝不客气。
还好有后面的枪战导弹，比较刺激，不然前半部分尽是些抒情的，就拉夸了，整体有点温情了...
定位互换的话可能确实会更有新意吧 贱贱负责美貌 加朵负责动作 强森负责嘴贫 爆米花有什么错 太下饭啦
“我不为俄罗斯工作 我为俄罗斯服务” 非常好的电影 不是纯粹的军事电影 飞行员的爱情故事也挺美好的 对武器操作员家属的情绪介入也很专业及时 还是俄罗斯人看着给力啊 对武器操作员的及时营救 大规模的报复 对牺牲飞行员的致敬仪式 看着非常感动 里面关于俄军武器运用的表现也很不错 是非常值得一看的电影
一个小贱贱凭借真情真意实力第三者插足的爱情故事。另：黄老板这几年尽忙着在各种片子里客串了，包括《权力的游戏》哈。
还行，镜头和剪辑是真的做得不错
俄罗斯主旋律硬煽情起来真不比天朝弱(近十几年盲从好莱坞的风气真是败光前苏联深厚的艺术底蕴, 扼腕叹息. )剧本很对不起能真的搞来拍电影的苏24. 战争场面和海报是真好看
剧情前半段感觉有点拖沓 几个战斗场面倒是比较宏大 过瘾 但是解救飞行员的部分也太快了吧！！！ 么看够 老毛子的电影和人一样 你动我 我全灭你 就要这个气质！ 电影最后的孩子传承部分让人动容 不得不说 老毛子在气氛烘托方面确实不错
第一次在电影中展现苏-24是唯一的亮点。名为《天空》，但空战戏太少，不过瘾，想必这是现代空战的弊病，可电影是允许艺术加工的，就这么简单地远程空射了两枚导弹就结束，多少算是不合格。结构主次不分是最大的问题，空战仅有几分钟不说，最后的营救也不过十来分钟，126分钟的片子其余部分全是文戏和叙事。要说文戏重要也就罢了，感情渲染不到位，紧张感也没营造出来。多加一星给苏-24，第一次在动态下感受到奇葩的并列式双人座舱和战斗时的操作过程
非常爆米花，观赏性很强，肯定是今年网飞的一个爆款
为什么要强行卖腐？这特效也离谱，假成这样。强森躲不开丛林戏了吗哈哈哈。这个反转有点可以。整体镜头和构图就是很标准的商业片，就是这个节奏不燃，没有行云流水盗宝片的节奏
最后的反转着实没想到 快来个韩国人改编成他们最擅长的两男一女音乐剧
千万不要因为看了抖音剪辑就来看原片，你会后悔的～
0.56 KJi:/ 第1/3集-了解一下什么是战斗民族！全程高燃无尿点！%俄罗斯电影天空 %现代战争 https://v.douyin.com/NN84Vrc/ 第2/3集-https://v.douyin.com/NN8uhCJ/ 第3/3集-https://v.douyin.com/NN8GSrH/
总体战斗场面绝对好，最近这几年好像确实多了很多毛子主动对90年代社会变化的反思，最后纸飞机那段也是high level，比起 长津湖最后那个一群人冲向海边又不真实又不贴合战役给后人留下的精神价值 不知道高到哪了去了。。电影长津湖拍成这样还真是白瞎了这么好的题材。。
没有想象中那么好吧，以为三巨头聚集会有不一样的碰撞，但集合起来1+1+1小于3了，死侍，黑亚当，神奇女侠，真要是这么整一出戏可能还会有不少看点的。只能算是合格的爆米花电影，该有的都有，盗宝，追车，枪战，动作，硬汉，美女，搞笑，一锅炖，看个刺激就好，结尾的反转的确意外了，没想到巨石强森最后会来这么一出，盖尔加朵这算是演了个反派吧，没想到和巨石是一对，应该和雷诺兹演CP，不过她在这部电影中没有神奇女侠让人惊艳了，女二的女警也不错。
2022.2.24 开战当天看这个 // “两架乌克兰空军苏24战机被击落”
俄罗斯红海行动。之前听说要拍摄此主题，心想这么憋屈的事件毛子也要拍成悲情英雄主旋律吗……不过资源出来后还是真香了～影片印象最深的不是还原事件本身或者火爆的战斗戏（平心而论轻武器交火情节也就和红海行动差不多水平），而是主角回忆情节中，苏联解体的大时代背景下，军队所面临的失去认同和信仰，军人面临的两种不同的人生选择的冲突，以及90年代黑帮横行的写照，可以说是本片的价值内核之一。P.S.1.片中反派美国人中，有一位是卡拉什尼科夫集团经常在油管上发布视频进行武器测评的那位老哥客串的吧；2.绍伊古的发型倒是挺还原的
盖尔加朵都好看程度和这片子的老套程度成正比、强森和小贱贱话太密了，到后面听见他俩说话都头疼、倒是希望女神以后多演反派
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