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.
美丽国网大也是这水平嘛～讲诉烂片是怎么拍成的烂片，全方位讽刺，包括自己，也是笑了
野心很大但杂烩完很片儿汤，看完很空虚，烂到掉坑的烂梗我还是笑得要死。
每隔一年半载总会有一部小成本小矫情密闭空间里面充斥着为何不食肉糜的他国人民的人生感悟的这样一部片子，就那么一跳一跳的蹦到你面前，然后你没忍住看了。你以为会有惊喜？不不不，只有编剧从陈年老剧本扒出来换成标准套路圈你点钱。
其实顶多三星。就是女主比较漂亮，女孩比较可爱☺
不要要求太高的话唯一缺点就是太长了，90min就够了
真的很尬 既不黑色幽默也不屎尿屁搞笑 从头到尾不知道在干嘛 一美为啥要客串这种片啊 看到才反应过来星云这身眼熟的原因是因为跟勇敢者游戏没差 说真的吐槽这类型的片子不请巨石强森真是一大遗憾
16-76美国《囚禁》
只有很短时间紧张的部分，不太恐怖，小成本，不要求太多了，无聊的时候🥱看过就好了
每一部恐怖片都在强化杀人一定要补刀的意识。
虽说某种程度上，有些类似去年的[不要抬头]，但虽然两部都是两小时+的片长，[不要抬头]能够吸引观众在没有审美疲劳的前提下，看完整部影片，而这部基本进程过半的时候，就已经开始出现大量重复，堆叠的笑点了，也因此导致后半程开始变得无聊，不再有吸引力。
隔离综合征，保证吃喝的下一件事，就是性生活。
网飞简直是把观众当傻逼，《泡泡剧组》本质上就是美国那批不入流的山寨大电影，套了个疫情大背景的讽刺喜剧，就当自己是重点影片了。整部影片用夸张的手法，还原了一部大烂片的创作过程，可影片本身的烂，也让这部烂片制造的过程更显乏味无聊。反过来说，影片反而还有了某种套嵌的观影感受，用烂片展现烂片，烂的double，简直煎熬。搞一堆上世纪的古典笑料，套一个当下的现实困境，太无趣了，远远落后于时代。
好导演好演员，故事也还行。就是太拖沓了，删半个小时可好？
可能试图想做一个讽刺喜剧，结果不伦不类。阵容还不错，三星给一闪而过的一美。
好导演好演员，故事也还行。就是太拖沓了，删半个小时可好？
不尬的轻松喜剧。没抱什么期望看，看得还挺放松和开心的。
太难看了，怎么会这么难看……而且也不好笑，我呆坐两小时就为了看这……漂亮老婆都没法救这电影了
点子不错，节奏太垮了，前面看的还挺有意思，后面越看越疲，2小时属于有点折磨了
烂得奇奇怪怪的一部片子，至少是给这个疫情时代留下了一些东西。
其实蛮不错的小品剧，节奏和氛围都可以，女主挺有味道的，小女儿很可爱。
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