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.
有一说一，比起天上飞来飞去的无厘头片子好多了，就应该多一些这种温暖人心的电影
看到孩子们的处境真的心酸，不过看到他们那种蓬勃的生命力，以及对知识的渴望还是很受鼓舞。
每位演员虽不眼熟，却用真诚将我带进了这个故事，让我勇气继续探寻我生命的意义。
孩子们眼中充满着对老师的尊敬，更有着对知识的无限渴望。一个人一生才能多长，甘愿为自己的选择坚守一生的人真是值得敬佩。
每个风景特写都可以直接截图做桌面了，太美了，总有一天我要亲眼去看看
我们应该从屏幕中走到现实中，为真正需要帮助的孩子们带去温暖。
很正的一部电影，男女主都是那种自然美，没有外在因素添加，我挺喜欢的
在中国肯定还有很多个像韩松老师一样，不怕艰苦，终生扎根在边疆支教，他们无私奉献的精神必将会影响一代又一代的人。
选的演员都很贴啊，演技都很好，而且孩子们一个个灰扑扑红红的脸蛋，真的特别能代入情景！
不错的电影，对藏区的刻画以及人文关怀都表达的很好，支教老师真的很伟大！
这部影片给我的感觉就是一直在历经磨难，太难了
感动肃然起敬，我曾经也有过当老师的梦想，可惜自己没有努力，确实十分十分后悔。由奢入俭难，在城市生活算不上奢，但和大草原对比确实奢侈了，男主开头说和大多数人一样是趁年轻镀个金真是人间真实了，然而即使是怀着善意怀着热爱，又有多少人能坚持下来呢？
这个电影很真实，估计电影中的学生都是找的当地的村民拍的，他们脸上的斑点都是因为当地恶劣的环境留下的，所以拍出来的效果才能这样好吧！
现在的教育，诶，一言难尽，跟影片支教老师没得比，之前在学校，老师都不管学生，爱读就读，不读老师也不管，很不负责任，甚至经常说有事不来上课，所以能遇见影片这样的老师真的很幸运
生活条件落差很大，半夜土拨鼠到他房间里串门把他吓得够呛，甚至还遇到半路被狼群追。
欲望和虚妄（它们同拼）
像韩松这样的好老师真的太少了，大都怕吃苦怕受累，他们不明白收获多大的赞美就得承担多大的责任。
看这个电影，不禁让我想起多年前看的同题材电影——《美丽的大脚》，应该说两部电影相同点很多，后者展现的中国偏远地区，那种贫困更深刻一些；前者则展现的时间跨度更大，反映出在一批批支边教师的努力下，偏远地区教育状况的改变。
看着孩子们一个一个长大，都有了好的前程，这是作为老师最大的成就感吧，替韩松老师开心。
节奏感不是很好，剧情安排的还算合理，希望下部电影把节奏弄得更好一点
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