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Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career. Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.) As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played. The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument). Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
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雅各布·蘇埃爾 雅各布·雷諾茲 科洛·塞維尼 馬克斯·佩利希 哈莫尼·科林 琳達·曼茲 Carisa Glucksman Nick Sutton Lara Tosh Darby Dougherty Jason Guzak Casey Guzak Wendall Carr James Lawhorn James Glass Ellen M. Smith Charles Matthew Coatney
1970年代,美國俄亥俄州。一場颶風將半個小鎮破壞殆盡。十四歲的男孩所羅門(雅各布·雷諾茲 Jacob Reynolds飾)和男孩塔克(尼克·薩頓 Nick Sutton飾)是兩個無所事事的街頭小混混。這場殘酷的颶風不僅破壞了小鎮的一切,也帶走了所羅門父親在內眾多居民的生命。所羅門和精神異常的母親相依為命,塔克則與鰥居的父親一起生活。兩個難兄難弟都對生活迷失了方向,每日就以吸毒,扳手腕和殺貓為樂。在這個悲慘而又毫無意義的世界裡,兩個少不更事的男孩就這樣無聊而麻木地生活著,明天對於二人而言如同虛設,只能繼續墮落下去。 由青年導演哈莫尼·科林自編自導的實驗處女作《奇異小子》,榮獲1997年第54屆威尼斯國際電影節費比西獎-鼓勵獎。
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泰利(斯蒂夫·古根伯格 Steve Guttenberg 飾)是一名編劇,在妻子去世後,他和兒子喬丹(米克·休吉斯 Miko Hughes 飾)過著相依為命的生活。陪伴著兩人的,還有一條名叫宙斯的小狗,宙斯可愛聰明又活潑,常常帶給父子兩人快樂,主僕之間的感情非常的堅實。 瑪麗(凱瑟琳·奎南 Kathleen Quinlan 飾)住在泰利家隔壁,她是一名專門研究海豚的海洋科學家,瑪麗保護著一條名為洛珊的海豚,洛珊有著非常坎坷的身世,剛剛重新回到大自然的懷抱,但它過於孤僻的性格常常讓瑪麗感到擔憂。讓瑪麗和泰利都沒有想到的是,小狗宙斯和海豚洛珊之間,竟然發展出了跨越了物種的友誼
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