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.
不是主角牛b，配角，龙套太蠢，活在电影世界中太容易了
翻译的真的让人无语，何必翻译成这样，小朋友都听不懂。我家宝宝爱莎可以看六七遍，这个看到中间宝宝一直说“妈妈我不想看了，可以走了吗？”。角色更像长了个洞的小仓鼠。
太扯淡了，炸弹没炸死，只变瞎了，比夜魔侠都猛
菲拉萌真的太可爱了，滚起来就是一个甜甜圈，可可可爱爱萌萌哒！
两星半。男主角类似夜魔侠的能力设定缺少说服力，故事挺套路，女主角演的有点太用力，但作为网大，该片的动作设计、摄影、调色有院线范儿。
老套的情节啊！瞎子警察复仇救女儿。可惜为什么都喜欢扮疯子。。。安志杰也没给自己好好安排几段打戏。。。
过时又拙劣的剧本，用力过猛尴尬的演技，脑残又无内涵的台词，开局两个假装演变态的男女，真是把爷整笑了
正常人变盲人的适应能力有这么强吗？主人公被神化了，女主演的很疯，但是全程有种反派在装b的感觉。
从这一刻起，你的每一次呼吸都是我的礼物。 一部高于网大，略低于院线的作品，还蛮不错
不好看 这个东西看着像熊孩子 很烦人 还是希望狗狗胜利
真垃圾，谁看了谁就会骂人。。。。不信你去看看吧
奔着男主来的，女主演技收一收会更好，众反派演技浮夸略油
啊啊啊啊啊好长时间没有看动画片了，感觉好可爱啊
剧情很一般，安志杰打戏很不赖，杨杏演技炸裂，网大佳作，赞一个
全世界都说中国话
你们都温馨甜蜜的爱国，我却是雷打不动的动画片
有几个地方五岁多的儿子也笑的很开心 动画片孩子能看乐就是好片了
比较俗套的故事，动作戏算是亮点，作为一部网大还能凑合着看！
动作戏枪战戏看起来好热闹，实际上假的离谱，狗屁不通，毫无逻辑，烂的程度没有词来形容。
网大动作，陈小春有重装战警，任达华有爷们信条，赵文卓有反击，樊少皇有神兵特攻。
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