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.
国产动画电影《小虎墩大英雄》简单说两句吧，小虎墩还是…蛮可爱的！故事也很简单，就是小虎墩和男二号来送镖…一路过关斩将，排除万难最后圆满的结局吧！就是动画制作方面可能还是差了点啊！小虎墩…还真的挺适合虎年上映的吧！我想，可能孩子们会比较喜欢吧…大人就…算了吧！就…这样吧！
母爱是母爱，病态是病态。为了女儿横穿冰层完成任务是母爱，明知是病毒击伤队友也要抢下罐子是战争摧残下的病态。
网飞真棒！！！！是部好电影！！！比烂长津湖好看太多了！！！！！！！
娃被救猪那场戏逗得前仰后合。其他就没啥亮点了。也算用心了吧……但，群众的审美被哪吒拉太高了？
一部画和故事没有什么大毛病也没什么优点、人设和概念都陈旧的电影，为了一个虎字想捞一票非要凑春节档
画风：7
新国漫之光，剧情、场景特效都属上流，画风还很特别，没有千篇一律，没有像哪吒那种故事的群众基础，笑点泪点都很自然没有很尬。最最主要的是配音太好了，江湖黑话，方言都很专业，在国内动画统一做作刻意的弱智配音下很出彩，这才是优秀的面向儿童的好动画，比什么羊啊熊的强多了
很可爱的一部国产动漫电影。剧情挺热血的。而且也不乏感人。制作也很精良。不错
超级无聊，片尾这么多飞机，不派飞机去送，派几个人去送？？？这？你要摧毁病毒，那爆炸就能摧毁，就不担心它扩散出去？？？战争也一般，反正无语的片！！！
做成游戏还是不错的 但是在电影里太老套了
普普通通，女儿的故事一开始就是假的，过程也没那么激烈，运送的病毒也没营造的多么威力巨大。
标准的好莱坞商业流水线电影，一眼就能望到头的剧情
因为劳米·拉佩斯才看的这部片，冰上追逐和对战挺有新意。
整个电影的风格和气质就像2022年初入境的世界，沉闷而看不到未来在哪里，以前在某一本小说里看过一句描述叫做「铁灰色的乌云覆盖了整个天空」，很好地体现了这部电影从头到尾的气质感；无边的冰面，压抑的战争和环境，看不穿看不透的人心。
男主设计的太玄乎了
看我的，黑风十八
震撼 难过 很有力的一部电影 从各个方面来说堪称完美 我不懂哪里拖沓 现在的人是用心看一部电影的耐心都没有了吗？
孩子挺喜欢，比想象的好看，可能是期望值太低了，大过年为了孩子高兴
很好看啊，怎么评分这么低？十一岁的小虎墩想当镖师的故事，少年侠义，笑中带泪。
这种北欧的克制。荒凉。绝望以及滑冰，北极光让人印象深刻
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