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.
2013~2021，历经8年，卧底之旅迎来了完结篇大结局。第三部可以说是黑帮片、警匪片、科幻片、奇幻片、灾难片的合体，当然首当其冲的是喜剧片。
哪 里 吓 人 就会乌漆嘛黑的张牙舞爪瞎比划
感觉三万年没看过这么好笑的电影了……真的笑死了……想想这部剧本写起来会多有意思呀！“疯蝴蝶瞬间移动来到了老大身后”之类的。（而且配合ED画面回顾这三部曲，更觉得宫九这几年最好笑的几个梗都贡献给了这部……）
The Mole Song Final 2021 Blu-ray 1080p AVC DTS-HD MA 5.1-DIY@TTG， 2:08:10.683 (h:m:s.ms) 43.26 GB
但是
男主身为驱魔师全程在逃跑，剩下一群鬼在互杀，看得我也不知道是该笑还是该干啥了...
前面还行，后面要素太多整个拉垮掉。以及，用光线不足的场景试图营造惊悚氛围比jump scare还无脑且让人烦。
不如“两个月亮”，可能和现在恐怖片也找不出新的点吓人有关系
21_160。概念不错，拍得是真的不行，吓人手法也是老一套，属于有点浪费吧
忘记喝孟婆汤的下场。
忘记喝孟婆汤的下场。
什么垃圾玩意,乌漆麻黑鬼叫连片,一会也一会那的看的烦,看到一半不想看了
电影拍的不行，但是抖音皮皮猫影视解说的很好。分为三个时间线，1990，父亲杀女儿藏尸墙壁（女儿被在枪毙里们闷死），1998，发现女尸，男主妈做法除鬼，没干过，卒，同日晚上三个倒霉蛋夜闯鬼楼，携手归西，2002年 男主，翅膀硬了为母复仇，也没干过，而且到最后看到自己画的封印鬼魂出来的符咒才醒悟。
太暗很多場景會顯得很模糊，倒敘手法，原來男主都是那個死掉的人。
其實可以看出這部電影本身的劇本應該不差，死循環加時空重合什麼的，可以說是把一些老設定又縫合出了新的表達。但是導演本身作為一個新人導演，又是這種不太好影像表達的故事，所以拍出來的效果真的很差強人意。特別是很多空間的銜接啊，轉場啊，肉眼可見的很粗糙，很不順暢，還有重複下樓梯。重複進門出門那種也是，拍出來的效果都差強人意，所以一個可能文本挺出彩的故事被導演拍差了，很可惜。而且到最後沒有把女鬼的背景闡述清楚感覺也是看了個寂寞，這麼強大的女鬼，竟然一點背景都沒有交代，倒是她能把所有人交代了，有點太誇張了。所以她真的是小女孩生出來的恐怖人格呢，還是鬼附身了？這一點都不是令人很清楚。不過片尾揭曉的整個故事的真相，到還算有點意思，雖然還是在俗套裡
没惊喜，剪辑尴尬，主角设定有问题，编剧该补补脑子
还不如TVB的电视剧，结尾反转勉强算是亮点吧
挺奇怪的片子，熟悉它的套路之后并不恐怖。刷一遍能看明白影片里直白的结论，但是主线在一惊一乍的叙事中被打乱了。
三池崇史。2022 金馬奇幻。宮藤官九郎。鼴鼠三部曲，算是系列高標。廢到笑的美術跟賣弄生田斗真的裸體是基本盤。堤真一跟吹越滿三人組很可愛。一直覺得仲里依紗不是傳統典型正妹，但純奈這個角色真是正正正。尾段在牆壁海報上好像看到三池崇史，不知是否眼花認錯。
有点刻意的为了混乱而制造混乱，需要有一定观看恐怖片的基础，要不会被导演带沟里去，其实就是一个通灵大师的儿子，为了查明母亲是怎么被害死的，而利用通灵能力通过鬼门走进人格分裂的小萝莉制造的黑暗世界里，最后不知道啥时候自己也挂了，影片结尾傻儿子才想起来。
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