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.
虽然我不懂重金属吧，但是最后的大提琴也太帅了~
Being cool is a fucked up idea in high school, it’s being whatever makes you popular, it has nothing to do with being really cool, like chasing your passion is the ultimate cool
剧本上有些俗套，还是几个校园卢瑟在组乐队过程中结识朋友、坠入爱河、与家人和解最后赢得认可（虽然比赛没拿第一）的故事。找贝斯手、大提琴女孩融入乐队等段落也比较单薄。总体上不如《摇滚校园》，毕竟那是林克莱特。但本片的青春片气息逼人！把teenager的愤怒、孤独、叛逆、渴求都表现得很到位。显然是导演功劳超过了编剧。还有半颗星是为了片中的金属乐队和歌曲加的！铁娘子、Metallica、黑色安息日、圣徒犹大、摩托头、Dio……金属四巨头全都出现了！连男主的车牌都是铁女的专辑“Powerslave”！大提琴当贝斯的设计真是太赞了。Emily的形象跟Beyond the Black乐队女主唱很像啊。
自由的代价是什么好评。有些桥段zzzq的令人恶心。成王败寇，高层早已成筛子，底层那些忠于职守者却成为历史的代价，历史的走向成了一种绝妙的反讽
三个倒霉蛋破坏加油站任务不成，一路逃亡躲入银行劫持人质…南非黑人平权运动，略平淡。
重金属焕发青春，泳池趴体减一星，毕竟拍那个不是金属人的长项
就是很奈飞的电影 有趣的故事拍出了无聊的电影
看到还在上高中的主唱为了让好基友练双踩买了一万三千刀的DW地鼓之后，就知道这是烂片了lol
对音乐类的尤其偏爱 重金属也爱 凯文那张脸扮作女生也绝对美美的 艾米莉手很漂亮 拉大提琴搭重金属节奏也太有感觉了 其他倒也不必计较太多 看片得开心就足710
很中二又很可爱。男主听听歌就能把鼓练得那么炸，而且从一开始就发现了女主的摇滚一面，强推大提琴进乐队，大概是个天才吧。打鼓和最后演出有被燃到。
为什么所有奈飞的creep们都有sex我却没有🚬
Everything！
笨贼碰到蠢警察，加上斯德哥尔摩症候群，无语。。。。。。
看个热闹。居然还请几个前辈出来跑龙套。但是总之，不用练基本功就能打到飞起的鼓手和不用排练就能上台炸场的乐队，那是做梦瞎诌。
男孩子上学时候还是得靠体育和音乐来好泡妞 得有一技之长
yEeeEAaaaaAaAH! 🤟🏼🤟🏼🤟🏼🤟🏼🤟🏼
没有什么金属精神，只是大家都因为金属而变得开心，just a fucking metal man！！！
故事温馨愉悦 还有点中二 音乐相当不错哦⊙∀⊙！
基本没有剧情 但男孩子们还挺好看的 2.5吧
自由的代价是什么？人固有一死，或重于泰山。
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