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.
二十几年前《木乃伊》的套路，再加上一点《非洲女王号》……迪士尼，唉
战斗戏请的是大陆抗日神剧的导演；
前两天晚上看的，标准的爆米花电影。解压放松~
老吉这些年接的都是啥片啊，心疼一秒钟。伊桑霍克只是配音，被欺骗的感觉。
非常适合打发时间的小甜剧，迪士尼到不能再迪士尼。mcgregor跟frank解释自己为什么跟着lily上刀山下油锅的时候，我以为要骨科了，我一想，迪士尼不应该骨科吧。。。
大火肆虐森林也炙烤着Joe的内心，独角戏电影，完美演绎出了过失杀人后警察内心的煎熬和后果，对于案件的梳理追踪以及最后的反转处理的都很细，原版的故事显然更适合美国的大环境，很有代入感，但不足的就是Joe脑海里想象的画面存在的很违和，甚至出戏。
真实历史事件改编，值得一看！故事非常流畅，也很抓人，还有一段浪漫的恋情。前后是空战，中间是荒野历险，与敌斗，与狼斗，颇为精彩。后面戴假肢重返战场，在敌机尾追下炸桥，拍得很棒，体现出男主的机智、沉着、勇敢。最后字幕展示类似经历的诸多苏联英雄，令人敬仰。唯一遗憾的是，看的是英文版，苏联人满嘴说英文，听起来都觉得英文不是味儿。
看的英文版，看着苏联人讲英语实在是别扭，反正很多地方别扭
7.7/10 以商业作品的基准衡量, 本作可称之精彩有趣, 不过同时也可称之为陈腐无趣。 以一个极为单纯的游乐项目为蓝本, 却完成了一出充满意外与反转的故事; 在这一面上, 本作值得赞扬。 各式各样依靠优质特效塑造的生物, 随着剧情发展自然产生的笑料, 以及大量的动作戏份, 皆让本作作为一部商业作品, 是合格且有趣的。 然而在去除所有故事与角色的特殊设定后, 依旧可以窥见本作套用同类型常用公式之痕迹。 毫无新意也极易预测的剧情, 使作品最终缺失专属自身的足够魅力。 同时在等级的制约下, 本作对于情节以及细节的打磨, 相较于时长而言并未展现更为精彩的成果, 不可谓不遗憾。
娱乐元素很足 荒野求生 无米之炊放个屁就让追猎者撞墙
强森后来老是拍爆米花片。片子到一个小时二十分的时候反转是蛮有趣的。打发时间很够用了。两个多小时片子有点长了。
角色不够新鲜，剧情好像还不如《明日世界》吧，肯定是不如《加勒比海盗》的。
记得曾经哈里贝瑞也演过一个911接线员的电影，这种类型的片子，基本是主演一个人的show，只要把握好节奏，就不会有太大问题，杰克的演技当然毋庸置疑。
挺普通的迪士尼合家欢电影，没什么特别突出的点，集齐碎片和地图沿着传说寻找宝藏，路上偶遇重要线索人物，再闯闯关打打怪，最后不负使命拿到宝藏。不过坐在4D影厅里跟着剧情摇也挺像在迪士尼乐园里体验过这个项目了🤣。
故事有点低幼，各种三观正正能量，不过整体起承转合不错。最喜欢中间那段frank的回忆杀身份揭示和反转。
非常不适合共情能力强的人观看…
主旋律色彩浓厚，身残志坚的英雄飞行员故事，三星半吧！
看过《云南虫谷》后，对比特效，还是人家的行，只是故事过于狗血。《鬼吹灯》配上如此的特效就完美了。强森和艾米莉配合的不错，开篇水上追逐还行，后面结尾有点水，勉强爆米花，毕竟如今能看的猛男不剩几个。
惊心动魄的空战，艰险的冰原森林。爱情和责任让他克服残缺的身体，重拾信念，再次成为飞行员消灭纳粹。
很好的空战片，向在伟大的卫国战争中建立不朽功勋的苏联红军致敬！
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