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.
拆成2部，一部儿童电影，一部成人电影，也许就能看了。
剧情还是一样的无聊，更多的是情怀吧。地图场景挺多的，街道、雪山、神庙，最后还有BOSS战。冬兵梗，复联团战造型，BOSS像反浩克装甲，超级索尼克像惊奇队长（漫威黑人问号脸）。彩蛋夏特，看前两部的水平，并不是很期待。
挺炫酷的，这两三年美国新电影明显含黑率更高了
幼儿特供或童心未泯的，我为什么要看呢？因为看了第一部！制作的确不错，但剧情马马虎虎。
再加上些漫威和dc吐槽
游戏改编如何才能丰满剧情和人物，不是加点新角色就够了
比第一部要好看点，就是神庙逃亡+环太平洋+超级赛亚人等似曾相识的剧情……少两星，一星是那婚礼真的没啥意思，非常的无趣，画蛇添足的感觉，还有一星是强行降智FBI的能力，最反感看那对黑人夫妻秀恩爱剧情，真的！我只想看索尼克大战邪恶博士，别浪费那么多给无关紧要的人物上！最后庆祝索尼克有了他自己的小伙伴们了，不过看彩蛋，可能还有第三部啊？
就网络电影来说其实很不错了！ 主角紫霞选的很好！ 不错的！ 自媒体少拿达叔做文章！
较第一部制作全面升级，还加入了两个新伙伴，分担了索尼克嘴炮输出幽默的部分压力，蛋头博士回归还组装起了经典的大头胡子机甲，娱乐性十足，但剧情和设定还是过于低幼和陈旧。希望这不是金凯瑞最后一部电影……
比第一部甚至还要优秀很多。纳克鲁斯和塔尔斯的新登场真的可以抓住好多人的心，蛋头博士在金·凯瑞的演绎之下也是更进一层楼。整部电影的角色塑造成功到无论是人类角色还是动画角色都极为优秀也极具记忆感。故事虽然依旧是寻宝式的老掉牙也没有带来新的创新，但是在每个可爱有趣的角色和特效再升级之下总是能够为观众带来欢乐。俗套大集合但又有谁不喜欢成功的俗套呢？
1就很一般了，2更难看，本来以为有金凯瑞，多少有些笑点，结果凯瑞的老套路夸张表演，只是让人呢看着又假又生厌烦。实在没耐心看完——衰落中的美国，数十年如一日的套路剧情，越来越不得人心了
没有过度模仿经典，也没有无下限恶搞，能看得出来导演很克制的表达，在延续老版悲剧内核的基础上，加入了新的爱情观，确实可以的。
尽管我已经忘记上一部的故事以及麦斯登的角色叫什么名字了，但这部意外地“就还好”，也许是因为有Morbius“珠玉在前”和几个还算戳我的烂梗。PS下一部终于能看到我最喜欢的角色了
挺好，编剧和导演再磨练磨练，加油！！！女主有灵气，别整容哈，棒
“暗影计划”！！！
有一说一，经典IP关联的网大能拍成这样可以了，至少不是粗制滥造，女主演的紫霞没什么问题，很符合也很漂亮（朱茵依旧是永远的紫霞），然后再看一眼达叔。
可圈可点，没那么尬，算不错了，来看达叔的，想他老人家了。
可可爱爱，金凯瑞演技太牛了，光靠金凯瑞就是一部合格喜剧！尤其是最后的那个像素街机风的小动画，太有年代感了
总之作为消遣看一下倒是没什么问题。
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