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.
其实还行吧，美术摄影真的很棒啊，仿佛还在nomad land，剧情弱和老套是意料之中了，期待赵婷多拍点啊
这其实不是一个杀一人救十人的电车难题，而是一个保大人还是保孩子的问题。
Angelina Jolie總是一副深不可測的樣，就是精神分裂第四期，要她好好說話她不懂。活了幾千年，大家都不長什麼智慧。
倒也没有漫威最差这么夸张，《尚气》《黑寡妇》《毒液1、2》《神奇队长》…….比这烂的我一列就是一大把
看完《永恒族》之后，我倒是没有察觉到很多国内评论所说的导演赵婷对于《西游记》故事的参照和指涉，更多地感觉到这部漫威新序列的作品倒是没有那么差，但是我们也的确能感到导演所尝试的努力以及在商业和艺术之间左右摇摆的无力。《永恒族》首先是不同于以往的漫威电影的，它拥有更慢的节奏和对人物个更细腻地刻画，但同时它也摆脱不掉漫威电影的娱乐属性，并且散发出一种难以掩饰的过于”政治正确”的命题作文一般的感觉。《永恒族》是对于超级英雄电影一种新的尝试，只不过我们很难说它是成功的。
《惊奇队长》之后一部探索女性痛苦的超英电影，而这一部以及过去看的《无依之地》都精准的展现了赵婷讲故事的能力之强，虽然节奏稍微慢一些，但整体可看性还是很强的，以及女主角真的非常美。
永恒族分别的地方不是特诺奇蒂特兰吗，怎么变成亚马孙了又……||五指山の诞生||看了一圈大家对永恒族的吐槽，大家光吐槽黑人看见广岛被核平抱头痛哭，但这一段剧情我很能理解。反而我觉得最有意思的剧情是萨尔玛·海耶克阻止大家干涉西班牙人攻打特诺奇蒂特兰，我简直要怀疑这个角色是故意找的墨西哥人来演了。
由于评分太低的同时，又冗长达157分钟，所以昨天才鼓起勇气点开看完，不愧是赵婷导演的，第一次看这种散文式的超英片。其实政治正确这块在我这里不构成太大的影响因素，主要还是动不动就聊半天，剧情推进主要靠对白的形式，再加上灰蒙蒙的色调，实在是与漫威这个IP有些格格不入，毕竟你是想喝可乐，然后他给做成了无糖可乐。虽然也有很多奇观特效，但是坦率讲不是很震撼我，感官刺激不充分，动作打斗设计也平平无奇，这才是我最介意的。在这方面不合格的同时，人物动机、逻辑也似乎不够合理，活了7000年的神觉悟有点低呀，像小孩子一样喜怒无常，然后变异族也够惨的，明明也是天神族的工具，错当了大半集的反派后，连反派的身份还被抢走了，死得也比较悲惨，未免太冤枉了。不过还是感叹一下原作者的野心，竟然企图将整个人类甚至宇宙文明史串进故事。
这可能是第一次在豆瓣上没有为即时看过的电影打分。真的打不出来，我现在思维还太混乱，没有办法用我的价值观评判影片的争议点，但选择无视或者绝对中立其实又是对弱势方的变相迫害，所以，我选择不打分。OK，说回电影，经典一句话影评就是：玩一盘文明6而已，为了存不存档这么纠结？
如果不玩弄令人作呕的政治因素以及不完全（虚假）的政治正确，可能我的评分会好高点儿，世界观还是有意思的。（开头太让人联想《云图》了）
哪有什么岁月静好，不过是永恒族在默默地替你们负重前行。
MCU最烂没有之一，以致于我要把这部片子分类到“搞笑”分类。设定与此前所有MCU电影格格不入，关键是剧情也没有足够的说服力来让观众信服，片外的其他各种政治因素都尚在其次，本片的烂跟各种正确一点关系都没有。
最后出现五指山还挺好笑的 莫名其妙就打赢了
还行啊，初代AI的觉醒之路。不知道为啥大boss长得像球鞋鞋底。。。感慨一下即使是最美的代码也要遭受阿兹海默症的折磨。。。
2.5 能get到赵婷想要表达的，属于eternal和immortal的浪漫，但就片子本身而言，非常不伦不类，后半部分明显还行，所以我觉得如果拍成剧会好很多，拍成电影怎么看怎么别扭。最后，MCU系列这块又臭又长的裹脚布到底什么时候是个头
抛去争议话题的短暂一幕 影片的完成度还是很好的 感受到了永恒族在使命和大义之间的挣扎 每个角色都有自己的独特一面 这部影片可以看作是漫威的守望者 结局其实不该留那个悬念 破坏了影片独立的完整性
隔行如隔山，赵导演还是回头做你的艺术家吧。
能在一部电影里把这么多人物讲清楚已经不容易了
我是你的，只要你愿意接受我。你想阻止我，就得杀了我。放弃永生，选择做人。
由于评分太低的同时，又冗长达157分钟，所以昨天才鼓起勇气点开看完，不愧是赵婷导演的，第一次看这种散文式的超英片。其实政治正确这块在我这里不构成太大的影响因素，主要还是动不动就聊半天，剧情推进主要靠对白的形式，再加上灰蒙蒙的色调，实在是与漫威这个IP有些格格不入，毕竟你是想喝可乐，然后他给做成了无糖可乐。虽然也有很多奇观特效，但是坦率讲不是很震撼我，感官刺激不充分，动作打斗设计也平平无奇，这才是我最介意的。在这方面不合格的同时，人物动机、逻辑也似乎不够合理，活了7000年的神觉悟有点低呀，像小孩子一样喜怒无常，然后变异族也够惨的，明明也是天神族的工具，错当了大半集的反派后，连反派的身份还被抢走了，死得也比较悲惨，未免太冤枉了。不过还是感叹一下原作者的野心，竟然企图将整个人类甚至宇宙文明史串进故事。
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