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.
在一帮电影原教旨主义者为了「漫改片是不是电影」撕来扯去的时候，法国人用一贯的烂笑料和敬业量产垃圾剧本揉成一个牵强喜剧，竟然带着浓浓的迷影味道。看的让我甚至回味到了《大饭店》《虎口脱险》那个feel。这种尽心尽力娱乐2000后观众，把电影当个「戏法」的低姿态，还真是挺可爱的。烧圣母院都能恶搞，服气。
哈哈哈哈哈轻松愉悦的傻逼电影，恶搞好莱坞超级英雄真的太好了。
本片是蛮好笑的，我在某场所嘴一直是被逗裂开的，特别结局高潮那段哈哈，直接给我暂停埋头冷静了一下哈哈...本片大部分喜剧成分其实是涩涩方面的，虽说法国是浪漫之都，但搞h可特别钟爱，其中很多喜剧涩涩桥段又憨憨又蠢萌，同款操作换别国家拍可能真没这有趣的味道。以前我看过一部同样是法国喜剧电影《洗漱睡觉吧！宝贝》其中男主有一段模拟嘿咻的演绎震惊我一万年！不得不承认法国的涩是最调皮的性搞怪.....法乳自己，恶搞巴黎圣母院哈哈。女主好好看！原名也叫爱丽丝！我更爱！
前半段津津入味 可惜后半段有些优柔娇作 结局也不够Strong 但还是挺喜欢的 毕竟这么多NBA球星参演了 特别是AI
冷门影片，往往带来惊喜。本片没什么名气，没什么热度，豆瓣只有两千多人评分，但却给我带来十足的惊喜。将失忆与超英巧妙结合在一起，将当代流行的DC漫威超级英雄悉数恶搞，与时俱进，笑点密集，从头笑到尾，娱乐性极强。
好污哈哈~~各种恶搞~又很合理！！！唯一缺陷就是~没有弹幕让我分享！
哈哈哈哈哈轻松愉悦的傻逼电影，恶搞好莱坞超级英雄真的太好了。
没人告他侵害版权就是离谱。但换个角度看，全球都接受同一种流行文化其实才更离谱。
吾一贯比较不喜欢滑稽戏，即靠滑稽替代幽默的喜剧，通常很难得到吾之赞誉，大抵因为滑稽已经被巴斯特基顿、查理卓别林用得登峰造极，后世除了憨豆实在很少人或作品能把握好滑稽的尺度。
法式幽默真的又冷又好笑，不过动不动就拿生殖器开玩笑也算是非常法国特色了... 导演是真的喜欢漫画和超级英雄啊，剧情有趣，恶搞到位，笑点密集，各种超英梗的编排恰到好处，巴黎圣母院又被烧掉夺笋呐！
法式无脑骚情恶搞系列，轻松一下，经典的是巴黎圣母院大火
我只想说 爱德华兹演的真好！比主角埃尔南戈麦斯更出彩。
-问题解决后的你感觉如何?
法国人拍喜剧还是行，不管黑自己还是黑别人都能黑到点上。
无厘头喜剧 埋了很多超英梗 最后一段黑复联4的真的爆笑
好看～训练和挑战那段酣畅淋漓 虽然有些套路 但不妨碍热血的坚韧～你要像一座冰山 漂在水上 撞沉船只！
《海扁王》，《超级英雄》
无视政治正确的法式喜剧，搞笑方式挺传统的，就很好笑
非常严肃地搞笑。各种致敬经典电影。哈哈哈哈。 挺好看的。男主和女主是2018年电影《城市猎人》的男女主演。
笑到发出鹅叫，漫威DC的精髓都学到了，哈哈
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