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.
观感上非常《功夫熊猫》毕竟那是唯一一部成功的中国功夫美国电影 千呼万唤的满大人Tony哥撑起了半部以上的质感 美国贾玲奥卡菲娜的喜剧感是本片最大的笑点输出 其他包括剧情特效以及贯穿全场的亲情都显得有些俗套 插叙的手法至少没让节奏上拉垮 总的来说这次的反向输出已经足够用心效果也很难吹毛求疵 只是尚气这个角色在漫威宇宙中性格和能力上都有些路人了
London 21: ODEON Covent Garden
来说不带剧透的总体印象，全华裔的卡司，所有人都可以说流利的普通话（港普我就不和你计较了），我觉得在现在的好莱坞大制作里已经算是奇迹了，更何况还是Marvel的超英片。中文对白占一半，但刚巧也卡在一个尴尬的位置，里面的人会普通话讲着讲着毫无缘由地就讲英文，我内心就会出戏，os好好的为什么突然切英文？动作戏其实很好看，非常明显地能看出来，混合了成龙功夫片、《卧虎藏龙》、《一代宗师》的风格，于是打着打着我内心又出戏了，想起那些经典的打斗场景。看得出很努力地融入了很多中国元素，依然还是西方视角下的中国。刘思慕圆满完成任务，我觉得很帅啊，又有点小可爱，Awkwafina贡献了大部分笑点，两个人很搭！好像所有人都在夸梁朝伟，我觉得他尽力了。
辱华问题没有了，但绝不相信梁朝伟和陈法拉的基因出这样一个尚气，就没有亚裔演员可以选了吗？后半小时秒变小怪兽片( ･᷄ὢ･᷅ )
这个动画全程透露出一种精神状态不佳的感觉，感觉作为观众的我也是如此
Ruby is the best. 但GG这演技哦…真没看出来他是喜欢狗狗的…
5/10 梁朝伟还是有味道，小姨说男主真像他妈时绷不住了了呀😅
就……kinda silly...all aspects
真挺好看的，看的途中几度激动到想流泪，有小时候第一次看优秀武侠剧和仙侠剧的震撼和向往，剧作动作都设计的很标准，演员的普通话不用质疑，设身处地一下你英语也说不成native的水平。主要是西方影业这一次认真的探索，从被妖魔化的傅满州，奇异化的花木兰，到逐渐成熟本土化的尚气，让我印象十分深刻，我们还在批评外界ruhua的时候，外界已经做出了飞速的进步。与此同时，梁朝伟先生饰演的角色，情义信勇，让人动容。
梁朝伟的演技在这里简直高射炮打蚊子。最难的点竟然是如何接受这个无脑的剧情，并有代入感地和其他壳子人物去演好一个壳子。
配乐也不错，有卧虎藏龙的味道了。
就觉得尚可吧，所有人素面朝天不是不能接受，那种漫画脸大张着嘴有点没法接受。确实一锅乱炖的感觉。没有突出重点，吃了一顿流水席，看似花团锦簇，摸摸肚子好像还是空的。故事内核其实是可以的，对于尚气一家家庭关系的反思，缺席而追求权力的父亲，被牺牲的母亲，两个被占据了生命的可怜孩子。究竟内心有多么恐怖会这样对待自己的孩子？值得反思，不知道有没有人细看十环中究竟都是什么字，很有意思。
虽然充满了刻板印象和暗贬，但是看得出漫威有在努力规避明雷，起码表面功夫做足了。规规整整的超英片，甚至有被几个山海经怪物的实体化惊艳到。不过说到底还是和女主的那部《不要告诉她》一样，华裔特供。
漫威电影不仅仅是主题乐园化了，已经是动态漫画化了，即设定大过一切，情节、人物、主题都要服务于设定，导致我对这部电影里的东方元素共鸣都大于角色本身。这样的问题不是《尚气》一部电影的问题，而是《蚁人》、《惊奇队长》和《黑寡妇》都存在的问题，这几部电影恰恰是为了补全漫威电影宇宙设定而诞生，这样并不纯粹的开发目的，也导致了它们无法像《钢铁侠》《美国队长》系列那样连续地打造一个有血有肉的角色。
梁朝伟像是开了大头特效。各种东方元素大乱炖，最后没来一首难忘今宵真的很说不过去耶…
悬疑故事还是蛮有万圣节剧集的水平的。我最感动的是Linda和Bob给Louise解释她的兔子帽子不是因为她第一天preschool太害怕所以做的安抚帽子，而是奖励她撑过了第一天（甚至还扇了别人一巴掌，原来这么早就开始了哈哈哈），以及Bob的妈妈也会带鲜艳色的帽子，虽然Louise和奶奶没有见过，但这个帽子让Bob觉得他俩还是有联系的🥹I am so touch by this.以及，被土埋真的好窒息。
这个东西culturally appropriate! 燃起我的中华魂！就是后面白龙打怪兽扯淡了点。
简直怀疑是 dc 来拍的，而且彩蛋没有跟任何漫威宇宙有关系
UA Berkeley 7 6/8/2022 19:50
本来是冲着有多少槽点去看的，结果居然还不错，比能看还强一档，分数想必还是受到了片外因素影响，但就片论片已经是《功夫熊猫》最好的好莱坞同类型片了。最大的槽点还是在片外：比《黑豹》上映时间晚了太多
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