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.
各种角色都是小时候看的了忘得差不多啦…
就是這個配方.......就是這個味兒。然後大D家這次真的是把壓箱底的IP都挖出來搞聯動了
IP大户迪士尼终于疯啦！彩蛋密集得我暂停回看好几次，aunt man的梗又冷又好笑。比起空中大灌篮2的家庭主题，更喜欢奇奇蒂蒂的友情，好莱坞歌颂家庭的片子千篇一律看得烦死了。非常赞同对千禧年那段时间奇怪恐怖的cg动画的吐槽
我去，太好玩了哈哈哈哈哈哈哈哈哈哈哈哈，就问哪个粉能全程不笑不“wow”！！我迪自黑令人着迷，我迪集合天下无敌，IP多真好，版图大真好，搞怪玩梗真好！温情牌就温情牌，套路就套路咋了，毕竟多久以来大家就想着各种弯弯绕绕，什么多元宇宙，zzzq的，忽略了最简单最动人的故事，看到他们互相表白“我好需要你”“不想离开你”连我这不嗑cp不看前传的也get到了他们的火花哈哈哈！而且朋友就是这样嘛，哪一方太强势都做不成朋友啊！彩蛋从头起飞到片尾字幕，最后那个猫脸（匹诺曹）索克的武器胡迪的腿（玩总）拉尔夫的手（破坏王）的造型真是笑死我了，赶快实体化一个放在伯班克门口吧！迪帝国的king在此敢有来犯一炮轰死（bushi）and这电影正邪分明，咬牙切齿地盖了个章“toons罪该万死”😂
SNL版的兔子罗杰。数梗数得很欢乐，真牙版索尼克和真人版的猫都有了归处……
剧情就那样 梗是超级多 用2d和3d区分真是好点子 整体图乐看看
？？打扰了，设定得受众群体是不是3-5岁？
迪士尼越来越会玩了 反正都是自己的IP 为啥不用啊
2d+3d+真人… 而且在同一个画面出现…违和感略强…FC《松鼠大战》
每一帧都在说“我就是有所有IP的版权炒冷饭你能拿我怎么样”，适合小学生们看。明明记得这两个花栗鼠是80-90后的童年记忆，看完这片怀疑是不是60-70后的。
又一部疯狂多元宇宙电影，脑洞和梗图漫天轰炸，迪士尼炫耀版权的万花筒大电影，眼花缭乱的经典恶搞和盗版自嘲巧妙地成为侦探故事主线：真正从IP这一概念本身入手试图复活过气动画角色，以彼得潘作为反派的设置更是挖苦之余把好莱坞残酷无情的商业机制嘲讽个遍。于是迪士尼像史高治金币池般蛛网尘封的古早贮藏在花栗鼠冒险寻宝地图之中逐一抛光，对原生IP没有情怀的基础上也可以享受Samberg和Mulaney的喜剧duo。虽然剧情依然薄弱，趣味性却一再超出期待，甚至可以以此看到重启翻新路线未来的可行路线。
真的好可爱哦 mulaney&samberg&the lonely island rules!!!!!!!
3.5。抱歉，有版权是真的能为所欲为的。AuntMan,BATMAN VS ET笑死。对迪士尼的作品并不算十分熟悉，只有大约1/4的梗能get到，其实对国内观众来说更熟悉的应该是松鼠大战游戏而不是动画了。
两星给有点意思的“盗版”设定和部分IP闪现惊喜。官方恶搞混剪之作，可见迪士尼爸爸终于疯了。比华纳的《空中大灌篮：新传奇》差在了视觉上各种画风大乱炖没炖出和谐感，真人加动画同屏还混2D和3D的效果实在是让人欣赏无能，更别说角色间能有什么创造性联动了。P.S. 属于是彼得潘粉丝塌房系列，塌得很彻底。
把真人和2D、3D动画都结合起来的电影，新鲜感还是十足的，而且里面除了迪斯尼其他知名动画片的角色外，还出现了环球、索尼的多个经典角色（版权怎么谈的？），有点“大家来找茬”的惊喜。但彼得潘之类的角色和形象都有点“毁童年”的感觉，确定这部动画电影不是来黑各种给我们带来乐趣的动画的吗？还是创作上深受前两年被深深诟病的“黑暗童话”的影响？
穆兰尼和山姆博格两大笑将合作，2D,3D 真人画面同框没有割裂感， 故事推进丝滑，玩梗自然新奇。。。the biggest risk is not to take any risk
太好看了！一定要看！由一群可可爱爱的“过气”人物演绎，充满了回忆杀跟搞笑梗。奇奇蒂蒂是我最喜欢的迪士尼卡通形象，买过超多周边，很高兴他们又“红”了！奇奇蒂蒂就是最可爱的！（你迪zz正确真是服了，黑人女主角，幸好不良影响不是太大…
Lonely Island继续影响着大厂产出，这一次各种IP的使用的确更加自然一些，剧本上多少有点简单，但是客串的有趣程度还是强于《失控玩家》这样的。
有无数ip在手真的可以为所欲为。。。小神龙俱乐部童年回忆杀，迪士尼动画的头号玩家，梗太多了。。。。。最后还有狡猾飞天德我的天哪！！！
又一部疯狂多元宇宙电影，脑洞和梗图漫天轰炸，迪士尼炫耀版权的万花筒大电影，眼花缭乱的经典恶搞和盗版自嘲巧妙地成为侦探故事主线：真正从IP这一概念本身入手试图复活过气动画角色，以彼得潘作为反派的设置更是挖苦之余把好莱坞残酷无情的商业机制嘲讽个遍。于是迪士尼像史高治金币池般蛛网尘封的古早贮藏在花栗鼠冒险寻宝地图之中逐一抛光，对原生IP没有情怀的基础上也可以享受Samberg和Mulaney的喜剧duo。虽然剧情依然薄弱，趣味性却一再超出期待，甚至可以以此看到重启翻新路线未来的可行路线。
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