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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.

全能影院

生死讼国语
香港国语1994
  马锦超(罗乐林)原有妻玉卿(苏杏璇),生一子马海(郭晋安)与二女马洁(邓萃雯)、马泳,后又另娶富家女林伊媚(陈曼娜饰)为妻,生二子马洋(方中信)与马江(吴启明),对前妻玉卿一家不闻不问,全靠长女马洁卖菜维生。马海十分看不惯父亲,两家人势同水火。  后超因积欠巨额赌债,为搏一翻身机会竟利用前妻玉卿一家到大陆探亲的机会运毒,不幸事迹败露,女儿马洁被捕,并因藏毒罪名被判死刑。超为隐瞒真相杀死了自己小舅子林家佑并放火灭迹,再嫁祸给玉卿,玉卿因此被判终身监禁。海获悉真相后悲恸不已,决心替姐雪冤,替母翻案,誓言不计代价为母平反的海,展开一场场输赢难定的生死讼!  在海最艰苦的时候,得青梅竹马叶蔚(关咏荷)的妹妹影(张延)支持和帮助,两人迅即堕入爱河。此事刺激了一直暗恋海的蔚,一时冲动投向洋怀抱,结果种下日后连串悲剧……  虽被传为创收视新低,却在行内有着极好评价的《生死讼》,可谓安哥哥最倾尽心力的戏,他的付出在当时虽然没有得到相应回报,但欣赏价值和剧中表现都无可辩驳的证明了安哥哥今天的成功绝对不是一个偶然!该剧也是关咏荷过档TVB的第一部剧,亦同为张延在港发展演绎事业的首部剧,时间早于《笑看风云》。  该剧网上对该剧的评价也是众口一词的赞好。  凌窈很喜欢这部剧感情部分的刻画,不论是马海、萤影、叶蔚(火柴头)、马洋之间,辨不清理还乱的四角恋情,还是志雄对马洁六年如一日无怨无悔的等待,让感情慢慢升华的并非是大段大段海誓山盟至死不渝的誓言,亦非刻意制造如童话般的浪漫氛围,或许只是眼神的在某一瞬的交汇,或许是置身在某处远远的凝视,甚至是平时听来再普通不过的话语,却总能在经意或不经意擦出情感的火花.看似平淡的爱情,却演绎不平淡的故事,细腻而真实.情爱不是冲口而出的公告天下,而是脉脉流露的点点滴滴,对演员的表演功利也是一次考验,尤其3位男主人公,马海左右为难 马洋爱恨交织志雄欲语还休,都拿捏得恰到好处,真如品茗般细细品尝方知原来回味无穷………  从娱乐角度该剧基调的确有些沉重,但从欣赏角度却是不得不看的一部范本好剧。

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