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.
还能再可爱吗，不能公映，是大人小孩的遗憾，我把资源留住了，给我儿看，以后玩具别和我儿子抢啊，金凯瑞虽然老了，也是我的青春。
优点:
这个彩蛋！是夏特要来了吗？！哈哈哈
看到达叔教育至尊宝，忽然好心痛，达叔走了我们也长大了！那些年陪伴我们的经典形象都远去了！
想念达叔，想念那个通宵看录像带的日子。
6.6分。由一只刺猬变成了三只，同上部电影一样，本作最大的表演亮点还是金·凯瑞（可惜结局蛋头博士去世了，撑着看完整部电影的角色没了……）。台词Cue了一堆流行元素，剧情依旧子供向，依旧顾头不顾尾和难以自圆其说。
结尾当紫霞借月光宝盒再回到相遇的场景，一路走来场景历历在目。当至尊宝来问她是不是在哪见过？紫霞却不敢回头，因为怕一回头，就心软了。这份注定错过的遗憾，跟原版还是很像的，不拘泥原版的表达有些惊喜！
整部电影也是按照游戏电影化去发展的，无论雪山逃生，深海神庙，都极有游戏风采，起码对游戏D很是亲切。
索尼克都号称银河系最快的生物了
剧本故事不错，
为什么这一部，感觉经费一下上来了。集齐无限宝石变身惊奇队长，打爆了巨型反浩克装甲。
2022.5.6 看完啦!熟悉的剧情套路 比第一部好看一点点 就那样吧～顺便说一下 真的好久没看到金凯瑞了5555
第一部刚出的时候看觉得还原了童年游戏觉得比较亮眼到第二部再看就觉得比较乏味了，虽然有两位伙伴加盟但感觉整个片子年龄向反而低了不少。片中有两段戏非常多余，一个雪山小木屋尬舞，还有一个两个黑人女救主角，都感觉属于强行加进去的片段。最后索尼克升级成超级赛亚人状态可还行，笑死我了。
这个叙事和节奏实在太老套了 即使游戏ip真的不好拍也不应该这么敷衍了事 本来就是个老ip没有多少粉丝基础 靠着节约成本实现盈利倒不如不拍 金凯瑞是多么适合现在的商业电影 但只能在这种三流片中混口饭实在可惜 这个故事这么勉强拍三部曲多买游戏能多卖多少呢
相比起前作的平庸，续集至少在特效场面上有了质的飞跃，但还是很烂，实在是不想吐槽弱智剧情了，票房高可能真的是没啥同类竞争对手，这个又很适合各年龄段一起无脑的吧
和前作一样难看，可能是这低幼的剧情不适合我这个成年人吧。N
西游cp的爱情线编得不错（本来很担心的，结果成了意外之喜，对周星驰版至尊宝保持敬意的同时又给了角色新的光彩，血肉丰满的“伪”英雄），男主演技也好（呜呜侧脸真的像黄轩是我脸盲吗），可惜时长太短导致衔接僵硬，而且主线剧情实在太像捉妖记了……
6.5分。电影一般，男主不好看，女主还可以，虽说经典不可超越，但作为网大，还算有诚意。
有大话的味道，我觉得蛮好的。紫霞很特别，不错。
“暗影计划”！！！
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