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.
这种电影打8分是情怀？不好笑不幽默，有种看美国战狼+巨齿鲨的感觉，看一半快进着看的，自己为幽默的幽默，什么鬼
難怪導演多翻強調在DC 創作比較自主，終於能做回自己由如響起在觀眾耳邊，他的本我當然是教育他成長的「特羅馬娛樂」，James 沒有當上叛徒 —— 為了成全他自己的成功，破壞過去支撐他的支柱，母題重新整合將個性發揮到A 級製作，甚至比起看來相近的Taika Waititi 和《死侍》兩集沒有刻意營造，或者為了惡搞而惡搞帶來的冒犯感，多了一份童心未泯，不是childish而是childlike，James 這一次很會把弄這份孩子氣，過度控制與密集恐懼在形塑自我成長的不安感融入視覺上，令人驚恐的不安幻化成美麗模樣。DC 英雄和惡棍中來源於父母的控制和失落，最後由不稱職的爸爸來確立久違在銀幕中失去的陽剛氣質。這群極度重犯一點不像神經痛漢，更像與小學同學們一起坐上愉快的旅遊車，就算到那天不可一起再頑皮
才会比任何时候更想活下去。
认识砂糖十年而他依然坚挺！打戏太棒脸也没变，追忆篇场景超美！大雪倾覆遍地白皑，火与雪红与白对比，巴与剑心邂逅，感情收尾干净利落，流露点到为止。爱上仇人无计可施，只好保护他而死。少年初登江湖，劲道凌厉经验不足。她在他脸颊留下剑痕，风雨漂泊中的幸福一点也够。幕后打戏训练堪比原片，而国内依然热衷瘦甜发嗲小奶狗。
剧场版动画完美复刻，品质依旧在线。缺点就是有村架纯这个发型的雪代巴真的是太出戏了。
跟OVA看完之后久久说不出话来的震撼相比，这部后半实在是拖沓到感动不起来…前半段互相试探到接近都很好，可惜不知道为什么要删掉白梅香，再加上没有神BGM加持，全篇的悲壮感被削弱了不止一点点（以及更加讨厌Netflix强行掐断credits直接开始放下一部的做法）
好家伙你不该叫和平使者啊，你才该叫美国队长啊😅
村花的雪代巴意外地贴脸
甚至觉得这是五部中拍得最好的一部了。打戏一如既往地优秀，但感情和氛围真挚太多，最后的雪落镜头惊为天人。高马尾的砂糖太绝了，绯村剑心这个身处变革时代中的悲情人物真的最终落幕了
感觉这一篇放在最后有一点弱，毕竟大部分的内容之前都知道了
果然最美的那幕被人诛篇剧透完了之后就少了很多惊喜感 雪里这一场戏在大荧幕看观感更好 不得不说这部里面砂糖还是挺有少年感的 人诛篇里就老成很多
DC现在真就超英古龙，拿几个“黑暗”“反英雄”IP就能炒一辈子的单元剧，低魔超能力（或者叫“低能”？）对标李寻欢们不见首尾的神功，但并没有古龙那种写意短句和复杂故事的威力。我的评价是，不如《末日巡逻队》
怎么做到的啊！！画面血腥暴力却又天真烂漫，剧情看似荒诞其实是对现实讽刺。人物都个性鲜明，peacemaker为了所谓的’peace’滥杀无辜，监狱里的badass和疯子真的就是坏人吗？最重要的是，Harley Quinn这个角色实在是太迷人了……地窖杀出来那一段我大呼过瘾，为什么可以萌到血浆都是五彩缤纷小花瓣……而且她真的承担了90%的笑点。（简直怀疑第一部看了个假电影）五星送上！对啦配乐也棒棒！
【B+】给滚导整明白了，那些超级英雄的能力是能让杀人变得更加酷炫的便捷设定！所以这部《新自杀小队》实质上就是借由超英题材和A级制作加持来宣泄虐杀欲的娱乐工具，里面的角色与事件可以被随意替换，然后再搭配以合适的绚丽场面。当然，如果只有恶趣味是完全不够的，滚导与扎某人的核心区别在于对「幽默」的控制：仅开场二十分钟就已足够证明，重口味血腥虐杀和喜剧基调的高效结合，这是扎克一辈子都学不来的东西。《新自杀小队》更应该与PJ的那部《群尸玩过界》相媲美，同样是一边呕吐一边发笑的“点子”作品，当然也有佳章。
如果这是第一部，那估计前奏太长，打斗不够激烈。但这本是第一部开头十年的故事，详细讲述了剑心十字刀疤的由来，以及其悲情角色的起源。看完系列，最后看完这部，更明白前几部剑心的不易。值得满分。
这不就是烂片吗，这个分数怎么了，感情跟漫威调换了？还是大家把这片当成漫威打分了，这电影前头水成那样都看不下去，后面把美国的丑恶嘴脸暴露出来就又有点那味了。但是也还是改变不了这是烂片的事实啊。而且我建议以后DC拍的电影时长都4个小时以上，因为每次导演想讲的东西太多！
几度看到差点睡着，节奏实在是太慢了，可武打场面还是完爆日本其他动作片。谷垣健治果然还是一流，砂糖的拔刀速度是真快，苦练几个月的效果就是不一般！
看过《夺命剑》《大菩萨岭》们再看这些热血漫真人版，真是既不热血也没有真实感。虽然苛刻了点，但人家10分，你6分就知足吧。
在没烂番茄先给你们做参考的提示下，这片子你能打高分？除去砍瓜切菜的血腥镜头有点意思外，故事依然俗套无趣到你能猜到下一幕会发生什么。降了智的士兵除了原地站桩射击就是拿头去碰主角们的子弹和拳头；哈莉动作戏堪比猛禽，红衣饱和度都溢出了好么；第三幕开始，过曝式打光看得观众眼瞎，敌人也瞎了；至于毫无存在感的弱鸡boss，就这还要威胁世界？耗子人差不多得了，最后的回忆有被感动到……不，是尬到。如果这是DC最佳，那可真是太棒了，以后全拍cult片，用血浆搭配fun就好了，一想到这就是粉丝口中的未来希望，我只想大声说：释放阿耶剪辑版！然后，此生无悔离DC。
对日本倒幕时期的历史了解主要来自于银魂，所以背景看得不是太明白…好在电影主要讲的是主角的爱情故事，出道时的剑心砍人真暴力。
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