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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. [email protected]吾家有女艾芙琳乒乓特种兵追捕刺客反贪风暴4粤语收税人纳妾记第二季广东十虎苏灿之卧龙在田心灵猎人第二季超能透明人布朗神父第十季初恋是CV大神鬼同你有缘之阴尸路国语魔女狩猎2022二流小说家八宝奇兵（粤语）每个人都喜欢着某个人军械库：历史上的武器第一季芸汐：毒谷新娘恐怖地窖鬼怪绝对可怜小孩 THE UNLIMITED 兵部京介我是中国人岩洞惊魂一个男人和一个女人追踪长尾豹马修迷失的七里香当代艺术送你一桌春食戟之灵 餐之皿红白黑黄 第二季粉色百合杰茜驾到第五季战狼传说（国语版）飙速宅男第五季热恋中的女人大厨秀第四季帕特和麦克列夫·朗道：诺拉与母亲松林外圣物秘闻录西口情歌浪漫面包屋狂欢之夜双世宠妃第三季七只乌鸦2015