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.
？这个画风崩的，红红这个脸长的，这个日漫风的招式？到底为啥搞个中日合作？
七夕看这个…倒是解释并填补了月苏前世姻缘，尚可:)
《我们终于知道了那年op背后的完整故事》
画面粗糙，明明买了ip为啥人画的还不一样，让人出戏。剧情只起了个补充，只能当番外看那这个制作也不太及格吧
挺好看的，完美诠释了欧洲顶级厨师的能力和压力
涂山一直在追，今天刚好看斗罗看到封面，比较开心以为出新的了，结果就是把以前的拼凑整合了一下，画风感觉没有以前质量好了
画风丑，剧情白痴，打斗场面垃圾，人物对白苍白……
还行吧，总体来说过于平淡吧，不过我觉得还可以吧。总归还是那两个字：还行。
失望
苦情巨树差点儿看哭我，画风好美啊，就是凄美感！！以及剧情胜过一切，这部动漫电影把之前狐妖的月红坑填了，终于给咱月红圆梦了，也造了苏苏和白月初的梦！
挺好看的，完美诠释了欧洲顶级厨师的能力和压力
这个画风，我的帅气的东方去哪了……不过还是很好哭
被bgm吸引来的。。一听就心塞，一看两个人的爱情就心酸，制作组吃刀子长大的吧。。
虽然但是，还是骗了我一波眼泪，动漫好久没更新了，再一次看到还是很怀念的，最后白月初和苏苏的惊喜出场还真是让我太感动了😭
剧情发展的有点快，不过后面还是被感动到，黑狐简直阴魂不散，很多cp都因为黑狐be了
感觉团队大换血了，故事讲的潦草，人物画的潦草，伤了漫迷的心……
虽然是下了班还在看别人上班，本来准备着看美食肯定看饿的心情来看结果吃的根本看不出来是什么…………但还是很喜欢 跟个人最近心态很贴近 工作是你很大的一部分 同事都是过客 但其实每个人都有自己的人生。。。。结局太仓促了，不过要一镜到底实时剧情也没办法。煽情情节有点太随便，但因为是群戏感觉每个人都顾及到了也很不容易。爆发大吵那里很爽，好喜欢女主厨，其实这个设置还挺妙的就是，服务业工作就是很像整个人生吧。。。内因和外因都是不可抗力。喜欢整个场景的设置，节奏和调度都很让人“舒适”，最后结尾实在是太仓促
狐妖终于出了一部烂到让我甚至懒得吐槽的作品，行，太行了，腾讯你就是这个👍🏻
暂且不为制作尴尬 真爱即是正义 为小月初和红红的感情为主题曲以及为对狐妖的情怀打上五星
翻月红篇再看一遍
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