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.
看得我人都傻了 900多话了，终于官宣新兰了……
对你的爱恋不会止步于此，对你的情深绝非南柯一梦
tv982-985 世紀之吻鯊我 現在壓力給到服部和葉這邊～（關於案件 新的成年陰影出現了！以及不要打啞謎啊求求了
难道就是因为亲了那么一下就评分那么高，我还一直在等着舌吻呢。太无聊了这片儿，就是要把粉丝妥妥的等到老了。
球球了 改成青春浪漫爱情推理故事好吗！为什么不能一边谈恋爱一边破案啊！！！
搞cp的起码给这部提了1.5分，案件说白了很烂
感觉一般般，为什么列出名字还要用暗号，人家怎么告诉自己家人，怎么靠这个作品找工作
如果去除对名侦探柯南的童年的那些满含热泪的回忆，去除仓木麻衣动画主题曲热泪的回忆的话只有三星，加一星给名侦探柯南，给仓木麻衣，给童年的回忆吧。
20年等来的一个吻，在动画片里看到反而变得真实。
补马！近年难得真情实感看柯南了呜呜呜，主线情节就是最无敌的！
前期的炭治郎一直靠努力来提升真的很热血，搞得我也想努力了
柯南的第927集-
(不必说 近几年柯南剧场版天花板！)
新兰永恒
洗衣机的甜还是很甜的。
恋情发展和案件两手抓，现在高中生都这么卷了吗
总觉得服部对新一才是真爱，不然不会只在有新一的时候才想着怎么向和叶告白，还要比过新一的那种……
抛开男女主官宣，这犯罪手法真是让人一言难尽……
新兰党双箭头不纠结系列，虽然案件只有天狗噱头部分很绚丽，古代的传说故事也很精彩，妻子贤惠，丈夫仗义爱妻，变天狗，救苍生。再次感慨，有效及时的沟通可以避免很多的案件和怨念。
虽然迫于因为变身的原因，没有接吻只是亲了脸颊，但是那段音乐响起，我就开始流眼泪了（老阿姨的微笑），案件是怎样的好像也没多么重要了（不是），这次案件是连环杀人案，本格推理，能看到京都的美丽风景，平次助阵，新一还有吃醋的戏份（吃醋对象长得很像自己哈哈），是我个人很喜欢的一部剧场特别篇了。
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