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.
莫斯科男人，东京男人还有两兄弟来围攻男主们的那一段打斗真的拍的挺不错的，非常经常。不过好莱坞这种主角身份被搞错被fbi派去执行任务的剧情真是拍不够啊
我觉得对于小成本做的真不错诶，就是推理弱了点。但是因为选用华裔，加一星。
女主角全程智商在线？？？最后跑路的时候不用枪废掉歹徒行动能力就是智商暂时掉线的那一刻吧。
套路满满的爆米花，但还算及格。同意郭达的观点，这片拍成r级会有更多可能性，拳馆长镜头变成屠杀也许能复刻王牌保镖的成功~
不能明白的就是明明可以原路返回，然后再报警，为什么一定要死耗在休息站，就算小孩子有病急需救护也没有必要拿那么多生命冒险……
着实一般，前半段还算普普通通，闹剧式电影，高低搭配的反差主角两个，缝合了点成龙元素，勉勉强强合格的类型片。但是后半段，透着一股预算用光的贫穷，没法补拍随便剪辑的过场，加的对白只能借位用画外音……
非常常规和套路的动作喜剧片，但感觉这么多年来这些杀手的薪资没咋太涨，你要说20年前200万美元还是很有吸引力的，现在感觉不至于这么玩命吧。
处处被困处处封锁，很好的把“no exit”这个概念延续到底，困在戒毒中心、困在暴风雪中的游客中心、困在车里被绑架的小孩……
女主在进行生死对决的最后关头我不禁在想，要是她就这么死了，那这种电影多无趣啊！在和罪犯的斗争中死去，感觉一点意义也没有。而最后一如所有同类型电影那样，主角在结尾变得宁静淡然、岁月安好的时候我又在想，真的只有经历生死之劫、或是强烈地见证死亡的人，才会从过去无法脱身的梦魇中幡然醒悟吗？
小成本雪夜密室（？）。消遣一下，还算能看。小女孩略吵，钉枪杀伤力也蛮猛的…但是没有女主猛。
设定上多了点新意，套路虽有点熟悉，前面仍有出色之处。整体集合的因素较多，总的来说，比90%国产片好看
女主的演技和智商都在线，就是节奏不太OK。
浪费了这么好的创意。暴风雪之夜，被绑架的小孩，被困的休息站里看上去都有嫌疑的四个陌生人。看开头的三分之一，本以为会是女主角斗智斗勇终于找出谁是绑匪的故事，谁知道后面2/3一泻千里，变成了一个老套的惊悚片，失望。亚裔女主角演的真不错，加一星。
莫斯科男人，东京男人还有两兄弟来围攻男主们的那一段打斗真的拍的挺不错的，非常经常。不过好莱坞这种主角身份被搞错被fbi派去执行任务的剧情真是拍不够啊
前半段一直平平无奇不抱期待，后半段彻底跟着紧张害怕。又是一部优秀的小成本电影！
我家那位来自多伦多的男人倒是看的挺开心……
暴雪围困休息站，人口绑架？剧情一般，惊悚一般，女主也丑 ，可以说没有丝毫亮点！
太久没看这样的喜剧电影了，我永远爱嘴炮逗比配扑克脸
封闭环境下的小成本惊悚片，剧情紧凑，还是值得一看的。关键词：绑架、勒索、内应、拐卖
很久没看到女主智商都在线的电影了，虽然桥段设置巧合太多，有点略微bug，但是女主的行为符合逻辑就证明是部好片子。
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