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.
画面不错，剧情节奏有点怪的奇幻治愈片，大平晋也式的三段作画不错，也许值得一看
画风温馨治愈色彩清新自然
日本人为什么可以把这么单薄的剧情拍得这么有感染力啊！
轻喜剧，但是养老问题还是很严峻，内向日本人真能适合share house吗
日本老年人活得比谁都快乐，想干什么就干什么，这个国家真是没希望了。最后主人公卖掉房子才有了最多的存款。那里都一样，房子才是最值钱的。
我觉得解决姐姐问题那里不是很好，因为姐姐的手续交接是存在遗漏问题的。
为什么要用别人的模式和标准去要求自己也那样循规蹈矩地活着呢？公式和定理，就一定能帮你达到最好的彼岸吗？只活一次的人生，先好好爱自己。
很治愈，也很平淡，这真的是我见过最短的打斗…
能看的只有奶奶讲故事的部分，能听只有片尾（突然听到自己以前听的歌）
故事很简单，高潮段落特别单薄。“奇妙物”也是浮光掠影。画面有时有不明所以的停顿。回忆段落里那些流动的画面很有生机。小二生还是看得很感动。成人觉得观感略差了。
一开始是奔着mana配音来的，后来发现居然也是后311企划之一。也算巧合吧。
刷微博时被台词“福气不需要那么大，只要每天有小小的福气就足够了”安利到
我觉得boss有点惨啊，自己想要独居一个地方都不行，只是把人类赶出了那个地方。
改编自同名儿童文学，由大卫社制作。前半段是祖孙三人的和谐日常，而中间河童的现身突然将题材从温情治愈系变成夏目式的奇幻妖怪向。很可惜本片在两方面都没有比较突出的地方，整体非常平淡，内心毫无波澜，各种桥段都司空见惯审美疲劳。原作者的另一部作品《生日乐园》同样平平无奇，缺乏亮点的普通流水账。不过作为子供向也不能奢求太多吧。
看电影里面的场景自己是很喜欢的，好有夏天的感觉呀；但是故事情节是自己没有想到的，又有了夏目友人帐那般与妖怪相处的友好；结局是美好的，那座在海边山上的房子真是让人羡慕啊。
刚看的时候很田园夏日，有温情。后面变得灵异起来就不喜欢了。
有点意思，尤其是影片中的追赶和温馨场景，狠狠地代入啦。
天海老师太好看太可爱了吧！！！合租房只有在电影里才如此让人向往。
整体蛮有趣的，也有乏味的桥段。想知道日本人看了是什么评价？
我喜欢前半段的生活气息，风景美食孙女和奶奶。
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