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.
剧情就那样吧，但要啥汽车，冬天就应该看chick flicks！！！Nobody kisses me like you do. 这词儿写得！
有点特别的驱魔电影，不是老套的驱魔剧情，不单纯在驱魔，还有恶魔的反响驱魔，魔神关系也有新的变化，最后的伏笔也挺有意思。那个大十字架也真是搞笑了一下。哦对了，开头也太性感了，不删减就是刺激
看的很开心的浪漫爱情轻喜剧~ 男女主角帅的和美的都刚刚好，chemistry也刚刚好，非常棒的改编了
场面极度邪典，甚至开始反思的正义性～
喜欢这种看着开心看完舒服的不用动脑的爱情小喜剧
透剧 （新意很多 背着十字架的耶稣 魔鬼驱逐上帝 恶魔在梵蒂冈内部 ）
很一般的办公室恋情。男主爹演得不错。女主身高差点颜值也差。
片中上帝和恶魔争夺的不再是信徒，而且圣徒，这一点挺有意思，当然最搞笑的是片中驱魔牧师被恶魔反向驱魔的过程
合理解释教会里性侵幼童等各种邪恶事件的缘由。
The exorcism of god，英语好的同学们可以多读几遍，对，就是这个意思，如果普通exorcism后面隐藏的定语是of demon，那这个片名要表达的意思就很明显了
故事很短小简单，还好吧不算恐怖，角度倒是蛮新奇
地狱空荡荡，恶魔在人间？中间有一部分挺想睡觉的
本以为这是一部歌颂德行的片子，最后发现原来想说的是世界已经堕落，未来在于下一代🤣
《论弟弟在我分手后把前女友变成了弟妹，然后我带着女同事/炮友参加婚礼后相爱的故事》
驱魔的过程莫名有一丢丢搞笑（他们太认真了）
看看还不错吧！挺有脑洞创意的（恶魔驱上帝）。神父的女儿很漂亮。神父最终妥协于恶魔达成交易，换回了女儿和其它人的生命。最后一幕从神父的眼睛可以看出恶魔是附身于神父体内的，然后女儿的眼睛却出现了上帝的圣光。看来结尾神父踏上梵蒂冈之途这是在下一盘很大的棋啊。不知还有没有下一部，挺好奇是否还会出现什么天马行空的驱魔故事和刺激的电影画面！
故事是非常套路的故事，但两个演员的颜值真的是不错，而且导演的功力不错，镜头语言和服道化场景的设计都下了不少功夫，音乐搭配的很好，让影片还是很具备可看性的，不过影片的问题也很明显，女主的人设显得会有些渣，直到她帮男主说话后，才显得好一些，其次故事应该围绕升职竞争与爱情之间的博弈，可是编剧只是在情节上不断在提到这个，并没能很好的将二者完美融合，而且设定女主和男主的区别，对于整个剧情的也没有太大帮助，也没能体现双方的互补，只能说完全靠导演功底和演员的颜值撑起了整部电影。如果只是想放松的欣赏一段简单的爱情故事，那本片是合适的。
就美国小甜剧，顺带套路了下亚洲生病照顾梗。男女主对话真是分分钟奔现HR被下头感，又作又工业糖浆。
P.S.音乐选择也很不错。this is how you fall in love(jeremy zucker), alligator(of monsters and men),somebody(dagny)
主题新颖，反向驱魔。
Copyright © 2015-2023 All Rights Reserved
