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全能影院

妖夜慌踪
法国英语1997
  这被认为是大卫•林奇拍得最混乱的一部电影。爵士乐手(比尔•普尔曼 Bill Pullman 饰)和他的妻子(帕特丽夏•阿奎特 Patricia Arquette 饰)一天早上收到了一盒录影带,他们发现里面的内容竟然是他们日常生活的点点滴滴。从此,他们每天早上都会收到这样的录影带。这天,乐手发现录影带里的内容竟然是他杀死了妻子!当他冲进卧室时,发现妻子果然死在了床上。  警察将他带走了。一晚过后,原本在监房里坐着的乐手变成一个年轻的维修工,莫明其妙的警察只好将他放了。维修工因一手出色的修车技术深得黑社会老大器重,这时,他发现老大的女人竟然和他的妻子长得一摸一样,只是头发颜色不一样。老大的女人主动勾引了维修工,两人携款潜逃。当他们来到荒漠公路时,维修工与女子疯狂做爱,之后他又变回了乐手……

全能影院

难以置信的事实
美国英语1989
  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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