Thestoryappearssimpleonthesurface,butisrevealed,especiallyaftermultipleviewings,asmoremulti-layeredandtexturedthanCassavetesathisbest.Ostensiblyitconcernsa14-yearoldCatholicgirl,Wynne(Agutter)growingupinthispost-modernwasteland,whodevelopsacrushonhermucholderadoptivebrother(Marshall)-acrushwhichperverselydeepensandgrowsintoinfatuationonceshestartstobelieveheisthelocalsexkiller.Thisisinitselfanideathatmakesyousitupandjolt,butasthenarrativedevelops,itcontinuesnotnecessarilyalongalinearpathbutinseveralconfusingandfascinatingdirections:thefamily'shistory,(detailedeffectivelyinchillingflashbackduringanimprovisedseance)isachequeredone,andhassufferedatleastonemajorrelocationandupheavalinthelasttenyears. Atthecrux,however,it'sthedepictionofsocialalchangesthatmakeIStartCountingsofascinatingandelevateitslanguagefarbeyondtheconfinesofthestandardhorrorfilm.Themajorsubtext-thatteenagegirlswerematuringmorequicklythanbefore,anddevelopingfullsexualandromanticappetites(evenifinthoughtratherthandeed)butwerenotpossessedofenoughdiscretiontomaketherightchoices-wasastepforwardforagenreinwhichitsyoungfemaleshadpreviouslybeenportrayedasbimbovictims(CoverGirlKillerandTheNightCallerspringtomind),butnotonethatallviewerswouldnecessarilyagreewith. Butmoststrikingofall,andpossiblythemostenduringimagewhichtheviewerwilltakeawaywiththem,isofthemasterfulsymbolismwithwhichdirectorGreeneinvestseveryshot.EveryinchoftheKinchfamily'sworld-theirhouse,theirwalls,theirTV,Aguttersunderwear,bedroomfurnitureandtoys,Sutcliffe'sclothes,Marshallsvan,thelocalCatholicchurch,theirtowncentre,theirrecordshop)-ispaintedabright,scintillatingwhite-awhitewhich,byinference,isslowlybecomingsmudgedandcorruptedwiththedirtoftheoutsideworld.Whitealsosymbolises,ofcourse,purityandinnocence(twoqualitiesCatholicschoolgirlsaresupposedtoholddear),anditisintothisworldofinnocencethattheever-presentredbus(asymbolofviolationandpenetration),conductedbythelecherousyetsimilarlyjuvenileSimonWard,makesregularjourneys.TheallegoryisfurtherexpandedinonescenewhereAgutterbelievessheseestheChristfigureinchurchweepingblood:bythetimeweacknowledgeit,itsgone,buttheseedhasalreadybeenplanted.Rarelyinagenreproductionhastheuseofcolourandbackgroundbeensoimportantoreffectiveincreatingauniformityofmood. IStartCountingisasnear-perfectanendtoadecadeasonecouldhopefor,andexactlythekindoffilmpeopleshouldbemakingnow-whichis,ofcourse,exactlywhytheyneverwill.Agenreessential. [email protected]
凯特·温斯莱特 , 安迪·萨姆伯格 , 亚历山大·斯卡斯加德 , 玛丽昂·歌迪亚 , 乔什·奥康纳 , 安德丽娅·赖斯伯勒 , 诺米·梅兰特 , 詹姆斯·莫瑞 , 塞缪尔·巴奈特 , 恩里克·阿尔切 , 阿琳泽·科纳 , 帕特里克·米勒 , Camilla Aiko , 琪塔·昂罗 , 文森特·科隆布 , 托尼·戈亚诺维奇 , Sean Duggan , 哈丽特·雷奇 , Katalin Ruzsik , 阿妮塔·马若尔
王老五,壹歌
南笙,杜宇航
尚语贤,艾丽娅,岳骁恪,赵燕国彰,张熙然,孟可,阳博
刘德华,白宇,莫文蔚,谢君豪,王菀之,王丹妮,廖子妤,林保怡,王敏德,周文健,郑则仕,黄德斌,何启华,魏浚笙,梁仲恒,林家熙,黄恺杰,吴彦姝,童瑶,姜大卫,许恩怡,区嘉雯,郭伟亮,张达明,白耀灿,张达伦,张松枝
华金·菲尼克斯,Lady Gaga,布莱丹·格里森,凯瑟琳·基纳,莎姬·贝兹,史蒂夫·库根,梁振邦,雅库布·洛弗兰德,比尔·斯米托洛维奇,盖特林·格里菲斯,哈利·劳蒂,提姆·狄龙,乔治·卡罗尔,莎珑·华盛顿,麦克·休斯顿,雷·吉尔,特洛伊·梅特卡夫,G·L·麦奎里,布莱恩·多纳休,吉米·斯玛古拉
