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.
你说是AV吧，它连个肉都没露，你说不是AV吧，还真是一点剧情和逻辑都没有，唯一的看点就是男主的颜了。
棒子在此类电影上的造诣已经达到了登峰造极的程度！
男主眨着星星眼被绑住的样子实在太可爱了，加一星
片方:把男人拍成狗。
本质是爱情轻喜剧，配色什么的都让人观感很舒服。
真是纯洁的SM关系，男主太拼了吧，被打被踩被咬被滴蜡
虽然……但是……这………（所以不做爱豆就去演性喜剧了？？？）
好看。男女主选角太妙了。职场PUA、女性困境、少数歧视……韩国对于网飞来说真是个大金矿啊！
女主气质绝了， 姐姐我也可哈哈哈哈
姐姐！我也可以！🙋♂️ps.你可以永远相信二代团的颜
类型新鲜，男主演的不错，徐贤造型还是很可的
明明旁白已经在向我说明电影想表达什么，但我愣是看不懂……在我眼里，这不就是sm版姐狗办公室偶像剧吗？但不得不说，选角真的不错。
哪里都觉得很怪，但比起‘黑帮大佬和我的365日’之流又正常不少
三星：尺度不够，剧情也算拖沓，本来其实有机会演绎成一出女性上位时代的，可惜咯
这个我还有，我更想说它是一个职场剧吧！虽然他大篇幅的情感和SM，但对于这一块的刻画和那种美感做的完全不足，就是一个虚头，导致我看着又羞涩又想看。
这类电影在有噱头的主题之外，剩下的基本都是敷衍的前戏。另外，女主有点像松隆子。
小两口你侬我侬种种小🍓多好，非要学狗狗捆绳子抽皮带？！多一星给选角和精准的尺度，女主真的好顶，尺度但凡再大一点，真hold不住了…能不能让孙艺珍和玄彬婚后重拍一遍？
我很感动，至少这次不是借着bdsm的壳乱搞爱情戏了，真的查了资料了诶！
大概就是要徐贤➕阳光大狗狗男主这种组合才能让dm题材亚洲片如此清新吧（笑
看演员表就能猜到尺度 但没想到能这样拍两小时.徐贤演社畜很到位了可惜没有欲 还有一个问题想问大男人为什么是一种小型犬叫声啊？
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