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.
无惨这个角色还是可以好好挖掘的;原来现在节奏已经比当年好多了,还是一次性看爽
对岸同胞很会啊。修学篇也就还可以啊，姨母不走了。
画面打斗好精彩，虽说剧本不爆炸，但是燃就完事了啊
响彻清水寺的忏悔声，一如枫叶林燃尽半生，初显的枯萎。以及虽然是轻吻脸颊，但那可是抱着从清水寺纵身跃下的勇气啊！
好甜好甜，虽然新一机变成了嗑药机，但是新兰工藤爸妈服部和叶都出来了我就好开心呜呜呜～（但是杀人案的这几个人都死得好惨啊……
“你是怎么想的啊？”万万想不到确定关系的是这句话，好日常啊
非新兰党，但觉得等这一吻确实太久太可贵了。
变回原型的新一下意识模仿小孩子太可爱了哈哈哈哈哈哈
补马！近年难得真情实感看柯南了呜呜呜，主线情节就是最无敌的！
小哀第四个协定和兰定情一吻 两边都没敢得罪
谁还看推理啊，十来年了，新兰终于亲个嘴儿了
相比尾灯版的老少皆宜，扎导版的人物更饱满，剧情安排也更合理，但却变成了纯粉丝向电影，对非DC粉并不算友好。
也许因为我第一次看柯南电影，实在是缺少context没有情怀加成，所以觉得就是一部非常无聊的侦探动画片😅
总觉得服部对新一才是真爱，不然不会只在有新一的时候才想着怎么向和叶告白，还要比过新一的那种……
EP.11-14 《鼓屋敷篇》
愈史郎真的太豪孝了吧哈哈哈！纪念一下无限城决战FMVP珠世小姐登场！
这次案件的手法可以说是意想不到了（当然大家应该不是来看这个的。
【2022023红之校外旅行】
新兰我初恋啊！！！我永远爱新兰😭
看了电视动画版本，冲着新兰终于确立关系给5星！新兰CP，新一平次，小兰园子，喜欢看的人物互动都有，一本满足～
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