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.
莱托少爷演超英，就不能露脸是吧，导演们是不是嫉妒他帅
虽然是《活死人军团》的前传，但是却比前者要闷多了，开场开保险箱还算可以，后面就直接垮掉有点高开低走，结尾的衔接也显得比较生硬
很难想象漫威题材的超英电影会拍成这样,拍的什么玩意儿,就这还布局续集呢？索尼果然是毁IP的能手.
此外最后两个彩蛋，基顿出现在监狱，和郊区类似蚁人的东西，会面博士打算干了蜘蛛侠，不太明白内涵。
小学看《夜访吸血鬼》，大学看《吸血鬼日记》，现在一把年纪了居然还要被按在电影院看两个小时刻进DNA的老套剧情，我这也算是和吸血鬼三生三世了。莱托少爷你真的没必要为这种电影做气球的，不值得。新冠改变了我许多看待问题的角度，从前看吸血鬼和蝙蝠觉得好酷，现在只觉得好好的干嘛作死，蝙蝠身上好几百种传染病，随便一个新冠就快把人类文明搅和得天翻地覆了，这是有多想不开拿蝙蝠做实验。
小学看《夜访吸血鬼》，大学看《吸血鬼日记》，现在一把年纪了居然还要被按在电影院看两个小时刻进DNA的老套剧情，我这也算是和吸血鬼三生三世了。莱托少爷你真的没必要为这种电影做气球的，不值得。新冠改变了我许多看待问题的角度，从前看吸血鬼和蝙蝠觉得好酷，现在只觉得好好的干嘛作死，蝙蝠身上好几百种传染病，随便一个新冠就快把人类文明搅和得天翻地覆了，这是有多想不开拿蝙蝠做实验。
全程1.5倍速不影响理解和观感, 侧重点不在谋划和开锁, 倒是经常在谈情说爱, 剧情又慢又不太刺激; Nathalie Emmanuel的B罩杯露得很诱人, 极线杀手的大奶妹Ruby O. Fee居然是96年的
四分给Jared和女主 帅哥配美女 Jared的气质就是吸血鬼本人了 挺好看的 比隔壁毒液2和蜘蛛侠3好看多了 虽然都是老套路 但是这个至少按部就班不好不坏 加上演员 设定 和特效加持 反而更说不出毛病 反观隔壁的崩坏三观和尴尬搞笑 真的是不错了 希望再接再厉 再创佳绩吧
这不比蝙蝠侠燃，暗夜博士和秃鹰要组建新队伍了吗
保险柜是真的一点也不保险呀。也太容易被破解了吧。
就是比较无聊。leto不要再浪费自己的美貌了。
我是说在时间就是金钱的抢劫盗窃任务里怎么能安排这么个磨磨唧唧絮絮叨叨站在金库前先热身再科普就是不着急开锁的男主，一看这位是导演，怪不得了。
前传类的命题作文其实不好作 本片拍的还行 逻辑没啥问题 打发时间合格
比正传要好一丢丢而已，嘴炮偷盗流，是一部只看开头就能完美预测剧情走向的无脑剧，十分符合奈飞的尿性。6.0
其实结局如果是女主带着诸神黄昏的图纸去找男主可能还要再好一点。不过的确爽，集合了所有元素，偷盗，背叛，追车，警匪
抛开这个处理的过于冰冷灰暗的色调之外，这个前传的其他部分，尤其是剧情处理可比扎导那部军团工整多了，你可以很容易的观看下去，并且不对其进行过度的吐槽。尼伯龙根指环保险柜系列的传奇这条背景线也编排的很有趣味，甚至还围绕它创造出了一个小型的窃贼宇宙。
就很普通啊，组成一个团队，各司其职，完成团队偷盗。刚开始唯一的创新是设置了玄乎其神的瓦格纳保险箱四部曲，可是每个保险箱的解密过程都大同小异，看得我兴致全无。导演过程中还吐槽是不是就像电影中那种，几个人组队，对，你的吐槽很对，你这个电影没有一点儿突破这个框架的地方了。甚至连负责司机的角色你都没有给设置更多更应该的责任。
作为Heist片亮点不多，但是它和导演/男主一样可爱啊！没什么严肃黑暗的主题，就是很可爱，欧洲风景很美，看得眼睛舒服。
死党无脑黑化就很傻逼 / 剧情太老套了 救命
汉斯·瓦格纳打造了4个“指环”系列保险箱，其中“莱茵的黄金”在法国巴黎的一家信用社里、“女武神”在捷克的布拉格市的一家银行里、“齐格弗里德”在瑞士圣莫里茨的一家赌场里，而“诸神的黄昏”没人知其下落。德国慕尼黑的银行职员塞巴斯蒂安是个破解保险箱的高手，扒窃高手格温多林邀请其入伙，一同盗窃指环系列保险箱；同伙还有领队打手亚历克西斯、黑客高手柯丽娜、接应司机劳夫。成功打劫第一个后，在打劫女神武时被警方追捕，无情的亚历克西斯将塞巴斯蒂安推下车，幸亏其逃脱；为此，格温、柯丽娜与亚历克西斯分道扬镳。格温3人盗取第三个保险箱，亚历克西斯要黑吃黑而反被格温拷在车上继而被警方德拉克瓦逮捕。德拉克瓦追击围堵住格温、塞巴斯蒂安，格温提出条件让其放走局外人塞巴斯蒂安，德拉接受了条件。多年后，塞巴斯蒂安在加州做锁匠，
Copyright © 2015-2023 All Rights Reserved
