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.
这个结尾，有点东西
这是看过所有NBA球星参演的电影里，大家演得最自然的一部了
结尾干脆利落，这就对了，相濡以沫，不如相忘于江湖。
为了篮球，为了每一个没能成为励志故事主角的人。
尼玛，你说你不喜欢足球，咋厚着脸皮翻拍了一球成名？
你们是瞎吗？这么帅竟然说人家像ET？真是平平无奇古天乐啊。
亚当桑德勒本人比这部电影更励志，一把岁数了寻求转型突破，原钻没得奖就继续拍球探，可谓是中年人的明灯了……可惜这部片预计依然得不了奖，倒是看着还挺流畅，但是太工整了，四平八稳的套路，唯一的亮点是片尾师徒赛场见
影片里小库里现在已经不在76人队了，而西蒙斯直接没出镜，看来当时就已经决裂了哈哈
亚当·桑德勒上部口碑不错的片子也是跟篮球有关，这个故事虽然简单到无趣，甚至改头换面也可被改成亚当·桑德勒之前的糟烂喜剧。但恰好也是因为亚当·桑德勒的亲和力和幽默感，这个流畅的励志篮球片把人看得很舒服。
还行，比较套路，可能就是因为桑德勒点开。然后因为看到我们队（最后，故事是隔壁州的75人），好感又upup，虽然今年总冠军我们输了，但是，格林公式完美完成，这也不错，杜老四耻辱柱给我狠狠钉死，舒服了～
很多年不看NBA导致看这个电影的乐趣没有那么多。但是体育运动真的是了不起啊，无论是足球还是篮球，还有乒乓球，各种各样的体育运动，真的了不起。篮球版本的begin again，都得靠互联网。
很带劲，不打篮球也不妨碍热血，机会定会给到有准备的人，桑德勒没和那个喜剧搭档罗伯斯奈德在一起出演，真的差一点感觉。
阿博和斯坦的机场双向奔赴（对不起啊。。 以及灵魂黑夜总可以靠网络舆论力量走进走出 真是这个时代的叙事万金油啊
NBA球星接力出场，唯独爱德华兹风评被害。电影有明确的受众群体，来填补球场之外工作模式的认知。在NBA这个运作最成功的商业联盟里，通过球探挖掘、球队试训、体测、选秀、招募等一系列流程，最后体验的仍然是还原运动本身弱肉强食的生态定律。如同埃尔南戈麦斯一路逆袭的风光镜头之外是休赛期被裁的残酷现实。
篮球也好，棒球、橄榄球也好，甚至赛车，都挺好看。督促博锻炼那段挺细致，铺垫的篇幅不少。还有就是爱德华兹的垃圾话，对博来说是必须克服的障碍。
合格的运动类商业片，但是剧情略俗，放大版百万富翁。
演的拍的都非常一般。
也不难看，就是整体太套路了，剧情走向每一步都能猜到。
NBA fan狂喜 全是各种真人客串
尼玛，你说你不喜欢足球，咋厚着脸皮翻拍了一球成名？
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