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.
🎬《小虎墩大英雄》🌟🌟🌟🌟🌟
看的3D版的，画面美轮美奂，小虎墩的形象立体可爱。故事原型在山西，让我想起了“又见平遥”（平遥古城剧中的行进式演出推荐观看）中镖师们忠义护镖的故事。忠义护镖，使命必达。向小虎墩学习，做忠义的人。
2.5🌟。很新年、很现代化的古装爆米花电影。。。篡位的剧情彷佛在看喜羊羊之虎虎生威。。。配角有像张飞的还有像光头强的。。
不错，过年一家子适合这种合家欢，有笑有泪，孩子看的也挺投入。
感覺比上一部流暢有趣很多，有幾個笑位的確幾好笑😂 「老竇打仔天公地道」 雖然後面爬塔尖實在讓我有king kong的deja vu
这是当之无愧的虎年贺岁片，给国产动画点赞👍
太棒了！现场气氛调动的非常强！而且看完之后所有人非常耐心的看完了虎墩家书内容，非常安静，时常听到啜泣声。整体比非常流畅平滑，没有尿点一气呵成，就是一到天煞王府的内容经常吓哭小孩，小孩的哭声很影响天煞王府场的体验，建议选择小孩少的场次
故事简单，适合小朋友看，但我笑得比小朋友声音还大
既然是拍给孩子看的，孩子们开心就是成功的动画电影，大人们过多的理解并不重要
可以吧镖师这个行业再写得好一点……没必要把自己片子限制在小格局中
毫无亮点，你说不上它哪好，也说不出它哪烂，仅适合12岁以下儿童观看
这建模是春节档电影该有的水平吗？剧情敷衍人物演技过猛。唉，真是林子大了，什么鸟都有。
作为子供向剧情还是OK的。。。就是这个强行胖脸实在是受不了😅😅😅做得还不如2D的画面好看
情节老套 人设也不好
各种周星驰的烂梗有没有？虎墩不就是鹿鼎记的周星驰吗？那个下人不就是华安吗？全程出戏，好无聊…
《毒液1》只不过是《毒液2》的加长预告片，《毒液2》也只不过是《毒液3》的加长预告片，照你这么拍，再拍10部都进入不了正题。
陪两个孩子一起看的，儿子完整的看完的第一部电影~
《小虎墩大英雄》🐯
比较刻意的一部贺岁档，情节太简单，不够走心
这片子应该叫 脑子一根筋的闪电侠小孩
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