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.
毕竟中国区票仓太大了，在racist问题上不可能拎不清的意思！
在一切的乱七八糟之余，完全清晰的可以看出《卧虎藏龙》《一代宗师》的经典打斗（俞秀莲玉娇龙、周润发章子怡，梁朝伟章子怡）、剪辑、BGM（尤其卧虎藏龙）的模式被借用…… 有一种它们都已经被historicized、简化成了随意引用取用的模式的年代。
整体很惊喜 画面特效 动作和bgm都好用心
电影本身就是部中规中矩的超英动作片，不论是人设、故事还是所谓中国元素都非常平庸，在故事和特效上看到了过多缝合元素，表演方面，刘思慕毫无星味的表演让电影里几乎所有主要角色都比他亮眼，梁朝伟挽救了这部电影的气质，所以说这部是钢铁侠后最佳漫威起源片的人脑子多少有些大病。本片与rh确实没有关系，甚至有明显迎合中国的元素，放早些年在中国可能是功夫熊猫的待遇，可惜，漫画前身不干净这个大问题摆这里，只能说漫威低估了fmz形象多遭人恨了。
明辱改成了暗辱，还要淘你的钱包，真的不行。－－－－－－李小龙才是黄种人反击白皮种族歧视的先驱。拍《好莱坞往事》那时，布拉德皮特还知道要改掉李黑剧本，不要触这个霉头。至于这一部么，就看片方的头铁不铁了。7/7/2021
首先难得在国外的电影里听到这么和谐的普通话对白，这依然是一部华裔电影，而不是中国电影，所以这样的程度我觉得也是诚意十足了，而且该有的搞笑、亲情、玄幻都有。当然缺点也很多，例如梁朝伟这个角色的就比较奇怪，活了1000年这么容易上当受骗，然后被剧情杀了……还有中国元素部分太像卧虎藏龙了，又和其他部分割裂得有点厉害；尚气杀爹的动机也莫名其妙；这部分还是在于老外确实无法理解我国这种家宗族的思路造成的臆想。
很好了，没有对中国文化的奇怪解读和使用，尤其包含了一些亚裔才有的文化细节。公交车几段果然是成家班的手笔。最后的怪兽大战出其意料的好。除了剧情和人物逻辑串不起来其他的超预期。
看过一种说法，这是一个老人遭遇电信诈骗的故事……其实观感比《惊奇队长》、《黑寡妇》和《花木兰》都要好那么一点点（能快进的情况下），勉强上三星吧。
2.5 聚能环换代史，其实没想象中那么差劲，但属实看困了。套路太过强，人也没当人来写。梁朝伟打不过尚气就离谱。
片子确实有诚意不管是音乐特效还是美术，但还是一部美式爆米花电影，而且前身该是啥还是洗不掉的，也并不是一两句对白就能洗的😅
劳动节票房不错，我为避免人多传染COVID，特地等到周二晚上看。总体感觉不错，梁朝伟演技不错。虽然男主颜值不符合中国市场，外国人还是很喜欢的。并无所谓辱华。但是硬要追究满大人的人物历史，就一言难尽了。华人有了自己的超级英雄片，对美国亚裔是意义重大的。但是对中国观众可能没什么意义。
我忍着两张很丑的脸看完了这部电影，如果电影好看，主演长得不够赏心悦目我也勉强可以接受的，但是这部电影是真的烂，烂到有梁先生我都不想给3星。说句粗制滥造都不过分，连毒液2都不如，毒液2还能看，这部除了最后的神兽们还不错，其他可以说是无聊透顶。
文化恐怖谷效应，明明在演中国的故事，可是感觉和自己一点关系也没有。
明辱改成了暗辱，还要淘你的钱包，真的不行。－－－－－－李小龙才是黄种人反击白皮种族歧视的先驱。拍《好莱坞往事》那时，布拉德皮特还知道要改掉李黑剧本，不要触这个霉头。至于这一部么，就看片方的头铁不铁了。7/7/2021
主角我觉得选出来也没毛病，是帅气的。整部电影看下来我是没有感觉到有rh，当然套路还是那些套路。世外桃源的场景也做得很美。
即阉割掉了尚气超级英雄主角的男性吸引力。
美国人的中式价值观，太恶心了
由成龍、《臥虎藏龍》到《別告訴她》奧卡菲娜一代的亞裔影視既視感，就像《黑豹》最動人處是反派心裡一直記掛奧克蘭小社區，那《尚氣》是電影中能自然生成亞裔文化感性，與英雄電影看來無法結合的陰性描述。設想是紐約街頭成長的美籍華裔們，所浸淫混合文化世界裡，並從聽小時候溫柔母親口中神秘又古怪的家鄉傳說，以及渴望與其實看來不怎麼壞，只不過寂寞又一直在外打拼而有所隔膜，（還要像周慕雲）老父可和解。尚氣質問父親，就算母親沒有死，就算她真的被困在家鄉，你以為救她出來，她又會回到你身邊嗎？同樣對孝道、父子對立，善惡的認知與描寫，骨子裡對個人價值的肯定是現代的，令這部披着東方元素、關於身份、家庭衝突與成長的奇幻英雄電影，在無法擺脫某種樣版之下，不至於陳舊與迂腐，亦是中國奇幻影視依然無法達到對角色的描述與深度。
抛开别的不说，这部的创作和制作也太草率了，甚至有些地方还不如黑寡妇做得好，半成品以下的水平
20211112。比预想中好，还蛮喜欢这个以柔克刚的精神内核，但是后复联时代的漫威再难重现辉煌。
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