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.
很一般的人质挟持枪战电影。片中警不像警，匪不像匪，人质，，也不像人质。。
一些好看的人非常认真的做着一些够燥够叛逆的事情的时候会显得很可爱。
校园青春。怪胎励志。最好的是音乐，尤其是后面比赛时那段。其它内容也就平平淡淡
看心理医生的时候发现医生是你的偶像，并且他告诉你你没病。哈哈哈哈哈哈哈！
可惜就还是比较套路
重金属焕发青春，泳池趴体减一星，毕竟拍那个不是金属人的长项
I do not know.
隐约感觉贝斯手又一次被黑（Tom Morello和Kirk Hammet 竟然都跑来客串了
一直喜欢看音乐类的喜剧，跟风永远跟风，我们一直是我们
很中二又很可爱。男主听听歌就能把鼓练得那么炸，而且从一开始就发现了女主的摇滚一面，强推大提琴进乐队，大概是个天才吧。打鼓和最后演出有被燃到。
在你还未见到敌人之前，你的品德便会在他们之间颂扬——《天国王朝》
在这个荒唐的日子口，看了一部关于自由的电影。“自由的代价是什么？everything！”
情绪上没引起共鸣，没有带入角色，只是在看他们在挣扎，但是没把内心波动表达出来
青春系列结合金属到这个程度还是可以了，三位演员都属于有眼缘的那类，燥起来更表现在生命状态而不是空话，如果人的一生都能如此燃烧就好了。三星半。
而这部片完全不是这种发展，还蛮惊喜的
重金属大提琴太灵了吧！比起skullfucker，skullflower更适合这三个中二少年嘛！
故事俗套，男二基本就是照着奶哥弄得，男主毫无个人性格，女主还可以，停车场那段非常可爱，最后演出那段还可以。
7。其实还挺有意思的，中间段谈恋爱这块感觉剧情有点篇幅过长。3个主演表现力还行，少点青春片剧情内容就更好了。去婚礼抢自己鼓手那段实在过于搞笑
套金属题材的青春片，男主情商太高了，碰到这种情商的队友偷着乐吧！还有妹妹不管你true不true一顿揍就爽到了！这俩真挺好！
友好的摇滚电影
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