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.
又是潜行又是rougelike式的打杀 又是神秘海域的绳荡 以及神似大树守卫的近战 导演绝对是游戏重度患者
电影毁在剪辑和配乐上，不少场景没结束就切到另一场景，配乐和场景几乎不搭，使得原本就乱的动作戏更提不起气。韩孝珠造型像漫改，吻戏也像漫改。蔡秀彬像打酱油的，小身子骨哪上得了船。李光洙是唯一对得起海盗船的，没有他整部电影的故事都串不起来。
识人不清治国不行但买VIP专座看戏的国王和被掏空的城堡。
全打戏爽文电影，但神奇的是打戏又精彩又拉，女主甩着两个小肉胳膊，剑都拿不稳，空翻要靠威亚，很难相信她有一路杀下塔的武力，npc们为了迁就她打死不围攻一个一个送，装瞎装聋强行降智，如果要靠强行削弱敌人来凸显女主，那还算女性电影吗？
D記竟拍了套古代公主版「突擊死亡塔」。全片整體節奏爽快，不過動作場面稍失後勁，壓軸一段力度可以強一些。
Joey King做女打还是力量感不足，这部的动作指导和剪辑堪称一流，跟天马行空团队可以交流一下。
没什么剧情的全程打怪，动作戏看的很爽，姐姐们太飒了😭
希望光洙可以接一些高质量的剧本，不然白瞎这演技，和搞笑天分
还可以吧，总的来说也有点幽默，那个胖子挺逗的，动作戏有些好看，但有些不那么让人惊艳，故事也不拖沓
前半部分剪辑太跳跃了，后半部分渐入佳境但是bug暴增。大场面都还不错但是逻辑死，感觉拍成爱情片更好看，是没看过的类型。感谢吴世勋贡献了美人神箭手的脸，从此小说主角都能动起来了、、这个love line 也很可爱🥺🥺最后合家欢还行 感觉属于朋友聚会无脑片
本来是奔着网飞去的，感觉可以更好的，却总感觉差着点，有点失望
感情线突兀，男女主仿佛拥有金刚不坏之身，闯关就是小孩过家家，李光洙那个角色存在的意义是什么？搞笑？我只觉得又尬又刻意丑化，韩演员的脸使我坚持看完。欧尼，麻烦好好挑剧本呀！这电影太离谱了！！
真的就是一直打一直打一直打，束缚身体的裙子衣服越来越短越来越少，现在连帮手都必须是女的了，好的好的，剧情老套了点。
如坐针毡，没甚意思，这位非凡公主连把剑都拿不动，太扯了。本来想给1分的，鼓励一下亚洲导演吧……
有一说一，女主演技真是差到爆，她只适合演甜美都市剧
5.7/10吧 比第一部特效画面更好了 但是剧情整体没有第一部好
整部电影都是公主呼哧呼哧的粗喘，倒是Lin 从打斗到气质更像公主😂
故事缺乏新意，男女主不错，笑点还是有的，有两个创意镜头个人非常喜欢。女主太飒了，一脚干翻一船炮。
晋江爽文女主，亚洲面孔琳很美，不愧越南章子怡
前期有些无聊，最后四十分钟燃起来了，爱情线有些突兀和没必要，总体及格。
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