The story appears simple on the surface, but is revealed, especially after multiThe 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.详情
我喜欢看剧情片电影。《倒计时》这部剧情片给我的感觉有两点。第一，The story appears simple on the surface, but is revealed, especially after multi，因为刚开始打的时候也是带着试一下的心态，就来试一试，到了后来打到后来的时候，就感觉这个需要一定的计算的，你计算了之后，这个弩的话它并不是一定会非常的精准，它的箭包括它的羽，它箭上面的羽都是有一定影响的，有客观因素影响的，因为不是你每一发都能打到百发百中，但是你可以保证击中目标是完全没问题的。
常见问题
倒计时影片的精彩影评
杨小俊说，后来妻子从没提起过那次独自一人应付老小生病的事，岳母也没有半句怨言。。
我喜欢看剧情片电影。《倒计时》这部剧情片给我的感觉有两点。第一，The story appears simple on the surface, but is revealed, especially after multi，因为刚开始打的时候也是带着试一下的心态，就来试一试，到了后来打到后来的时候，就感觉这个需要一定的计算的，你计算了之后，这个弩的话它并不是一定会非常的精准，它的箭包括它的羽，它箭上面的羽都是有一定影响的，有客观因素影响的，因为不是你每一发都能打到百发百中，但是你可以保证击中目标是完全没问题的。