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.
外传比正片好看多了，虽然都是老套的剧情，靠耳朵开锁。但是拍起来算合格的爆米花电影，三星半推荐。
not bad！搞笑刺激旅游大片 开锁还是很刺激的 不要究细节就好
《蜡笔小新》金句引用错误招来便利店百人斩，茶餐厅正确挤奶油摆芒果比折颈爆头困难太多，弹夹和纸巾都容易忘在裤袋丢进洗衣机，Cute Japan 多元化发展女仆咖啡厅极道酷刑，蛋糕摆冰箱单车两人骑愉快奔杀场……导演阪元裕吾2021年连续放出三部日常杀手地下世界的电影，又一个值得关注的新世代电影人。近几年日本动作片真是崛起了，不枉甄家班带领坂口拓等功夫死忠在各种特摄恶烂 gore 片中摸索奋斗那么多年
动作设计有想法，演员呈现软绵绵。两女主的选角非常讨厌，看着就像俩初中文化、小混混样子。想拍一个荒诞感的反应社会现实的电影，结果除了荒诞就是无聊的废话。
高石明里的厭世臉非常可愛,兩位少女殺手動作設計精采,電影全程無尿點,吃泡麵亂噴與應徵女僕餐廳的劇情都讓人捧腹大笑
还行吧，打三星。前面一直套路，唯独结尾没想到没套路。小感动了一下。懂你的人才会惺惺相惜，灵魂相见。看完忍不住又想把《活死人军团》最后开地下金库“诸神的黄昏〞保险箱那段再看一遍了。这德国小哥到美国发展，能导又能演，前途无量啊。
保险柜前的谈情说爱和磨磨叽叽让我忍不住抖腿
其实做大量锁心特效没意义，观众感知不到难度。
故事很流畅，2小时不会感到无聊，并且男主那独特的尖叫声太搞了hhhhh
在只需要一部电影帮助入睡的夜晚里就选择它吧。
其他没啥印象，不过，那些传奇保险柜的锁，真的是设计得太艺术了！
稍感冗长，但小幽默遍及全片，还是很耐看的一部苞米花电影。
期待Netflix接下来能制作出更多《活死人军团》的续集和外传。
卖人设，但是人设完全不新鲜。开个锁三次无变化，所以这是在拍什么
感觉按照网剧看还是合格的。剩下的就没有什么亮点了。哦，对了，弥桑黛换了几身衣服挺好看，A版的狼叔没有什么存在感。
赶脚只要和扎克斯奈德搭上关系，就不会有什么好下场，本片的节奏也是属于娱乐片里比较缓慢的，故事大都是在不急不缓中进行，最大的坏处就是高潮戏份始终不见，就算结局处也是一溜平缓，毫无波澜😑
刚看完，来傻豆一看，评分这么低，不应该啊，你们太吝啬了。
女主和被平民的英国二王妃好像
一种精神，破解一个个传奇的safelock，从无聊生活到惊险的犯罪经历。剧本拉胯
生活就是工作之余还能躺在沙发上玩啊吃啊，再找份工作完全要毁掉这种生活嘛！适合社交废宅躺在沙发上边吃零食边看的可爱作品，一边发表着“就是嘛”“工作什么的去死吧”“花钱解决一切就好了”之类的碎碎念。短发妹打架真的很帅
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