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.
最好看的就是钱老板的肉，光屁股丨@ Pathé De Kuip, 14 Apr 2022
几乎全程见证了一部国际水准动画片从开发到上映背后的努力和艰辛，更是极少数能用好莱坞团队讲好中国故事的先例！
低配版天才眼镜狗。
明星超多，剧情超烂，咱以后请女明星的时候能不能请一些年轻的姐姐演，别请奶奶来演玛丽苏的角色，真就国内国外都这样，看得我直反胃。
念念在影城看的第2部电影。3岁爱看，33岁也没觉得幼稚。
前半段还是很好笑的，从小白变成反派的那一刻起……后面的剧情套路也太中国了吧。。。
黄毛前辈反而是最让人在意的，莫名其妙就被杀了，说他干了什么吧在电影里却约等于什么都没干
好久没看这么烂俗的冒险故事了。。。女主没事不要打太多肉毒了。。。
小朋友们在嬉笑间还可以学很多历史文化知识，比如：达尔文提出了进化学说、1417年郑和下西洋、1735年乾隆登基……
挺好看的呀，国语配音很优秀了，分低了分低了。
感觉这个剧本随便套个别的设定或世界观都能成立 基本是工业成品 但还是成本低 不然动画视觉上不会这么简陋
如果变成钱老板的porn说不定还会更好看一些。
还挺有意思，制作很好莱坞，如果人设造成长毛的油饼可能会更中国化
爱情喜剧混搭探险寻宝类型题材。——“But don't minimize the people that love your work by calling it shlock. That's not fair to them. ” 某五方听完应该好好反省下。
中外合资，真让人舒适，国外主创团队的硬实力和中国的故事芯，别说在甜甜圈这部片子里，上海可真是个有趣的城市，当然，不在上海生活和工作的话，上海本身就是个有趣且故事很多的城市～
挺好看的啊！！！大家是不是对华谊兄弟太苛刻了。只可惜档期遇到了，长津湖
能够预料到结尾的drama故事和床戏是最难拍的。但是电影后半，台风过境的戏可以称神。bgm配上跟随着女主随风飘摇的手持镜头，让我想起sunny day service「苺畑でつかまえて」的MV。
真的蛮好看的！国庆看过的电影动画中最可爱最好玩的一部！叙事也不错！值得带孩子去看的！
甜甜圈这个形象挺新颖的，但剧情没有吸引力，没看完
忍着耐心陪小人看 里面的对话用词太网络很不喜欢
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