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.
三点五星手松可以四星
比起狂野大陆差很多，剧情过于天马行空，拉不回来，制作水平上去了，却失去了熊出没的本质。 2月4日于耀莱影城with全家
过了春节档随机Roll到“4D放映厅”得到加持的观影爽感。
5分 带侄女去的 第一次看这个ip 还可以吧能看下去 但是还是缺了一些创意和审美
6.8分低了，比春节档其他几部排片高的电影好看多了
结尾有点仓促 国产动画终于也要拯救地球了 不错不错
哈哈哈。电影本身一般，感觉像一个大糅合，猫咪的感觉好像哪吒，光头强变小变帅脸变短了，牛夫人感觉也好像某个动漫人物，再融入科幻元素啥啥的。。。一些台词也是觉得，emmm一言难尽吧。
一部集毒液哆啦A梦无敌破坏王钢铁侠奥特曼于一体的动画片…
笑点真的很多，虽然剧情简单，但面向观众主要是小孩，真正的合家欢电影，好看，特效很好
作为科幻电影的话，剧本也不够好，仍然有些低幼，没有原创的科幻点，像是很多电影的拼盘
现在动画片都那么卷了么…要搞熊出没宇宙啊？
讲真，值得票价，但人物形象设计等抄袭痕迹还是很明显的。
好看，孩子能看进去，哈哈大笑，还能树立打坏人的理念。大人也没有出戏，国产儿童动画片做到这样，很不错，值得鼓励，就算放到全球动画片范畴，也算优秀之作。给孩子看的情节，就是要这样简单明了，活泼生动，不需要那些形而上的东西
现在国内的动画电影做的真的挺好，我觉得视觉效果不输迪士尼
如果不是爆米花救场，我儿早跑出去了
节奏很不错，配乐也好，中间还弄了一段歌舞表演，动画片来说很不错了，好于很多大片了
陪女儿看的春节档第一部电影，阿布简直是钢铁侠+黑豹+毒液的合体，后半段看出环太平洋的既视感……动画技术已经相当成熟。
转引五岁小朋友的话：零分。
不得不说熊出没系列真的是3D良心动画了，每一部的3D效果都非常不错，这部也是不例外，而且特效场景方面也是更进一步，配的bgm也是很用心，小朋友们应该会非常喜欢。但是故事本身确实在走下坡路的，这个剧情也就是糊弄糊弄小孩，真的是很一般，还整出个牛魔王铁扇公主翻版也不知道编剧咋想的，整个故事熊二成为了完全的主角，而光头强熊大像是打了个酱油，剧情设计走向都不太好。总体来说，虽说这个系列在春节档票房都很稳，但也要好好打磨一下故事本身，不要再继续走下坡路了。
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