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.
十年四部，疫情时代的仓促收尾，身披怪谈斗篷的罗马尼亚family drama迎来收官。德古拉遇见拜见岳父大人，每部都靠笑点密集却内核烂俗的翁婿矛盾推动剧情，外表多元的怪物族群和不断扩充的女性角色始终都是典型白人家庭父子情结的组件和背景。终集遗憾不再由Adam Sandler出演的千年老妖岳父面临家业交给女婿（Andy Samberg，或直接说ginger版 Jake Peralta）接班的万年难题，为了闹剧而闹剧，为了集体冒险强行引发危机。不仅人物了无成长，摧毁后的特兰西瓦尼亚本可成为升华的转折，结果女儿女婿翻新酒店继续经营，系列意义完全的发展倒退。一切阖家团圆的完美假日之下，最为悲伤的核心被有意掩盖：女婿凡人的身份让他试图融入这个永生家族的心愿注定是空欢喜，只有化身怪物才能说出压抑的真话。
能做到第四部还保持在及格水平线上，也是可以了。
熊二变身哥斯拉打了一遍环太平洋里俄罗斯的重装机甲
人物剧情都很流畅，剧情是个什么鬼？！
怪物变人，人变怪物这个设定当年史莱克系列已经玩过了
特效节奏都不错，叙事详略得当没有成人片的拖沓纠缠，看得十分过瘾。
一直以怪物卖萌为卖点的喜剧系列，总有叫人忍俊不禁的笑点出现，这就挺好的。
画质很惊艳啊，国产漫画的水平已经跟国际接轨了，技术已经不是问题了，剧情还需要再打磨打磨，给5星好评，鼓励一下。
本来只给三星的，但是这个糟心的过年，我们的熊熊做的这么棒，多给一星鼓励一下，科幻巨作啊，哈哈哈哈哈哈哈哈
我觉得这一部要比2和3都好看，就是短了亿丢丢
我好开心呜呜呜，在深冬看盛夏依然能感受到气氛😭，drac变成人意外的更可爱了，草！！怪物Johnny也可爱的不行😭，谢谢，我看的超开心🥺❤
拍到第四部，没有反派，矛盾只能从内部生发，有一种狗尾续貂的感觉，不推荐
互换身份，一边造成了巨大反差性笑料，一边以设身处地的换位思考，完成冤家翁婿相互间的理解与包容，最终达成影片主旨：“若你只看到差的一面，那么你将会错过好的一面”。
好好看，地球好美。场景很震撼。熊二终于做一次大男主了。
元素是挺多，但借鉴的元素要跟观众产生共情不是，整个看完之后，毫无波澜咱就是。
前三部没看过，感觉还可以，看个开心，就是感觉有点短
我儿子对蝴蝶到跟前印象深刻，当时用手去捉。
身份互换的内核是非常极其特别流水线，纯粹当个乐子也没多有乐。
陪儿子一起看的，倒是把我看得很激动很热血。
其实挺不喜欢Johnny的，亮点是其他怪物friends
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