今日凌晨中美开战

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.

舞台是大正日本。卖木炭的心地善良的少年炭治郎的日常生活因家人被魔鬼杀害而彻底改变。为了帮助唯一幸存下来的却变成凶恶鬼的妹妹隅豆子恢复如初，炭治郎踏上了为讨伐杀害家人的鬼的旅途……

韩国纪录片电影，该纪录片将矛头瞄准韩国前总统李明博，前放送文化振兴会理事长金寓龙、前MBC电视台社长金在哲、前MBC电视台电视剧部门部长张根洙等李明博政府时期官员们也在影片中登场，讲述了李明博政府时期，官官相护、官商勾结，并利用KBS、MBC等电视台操纵舆论，欺骗大众的行为。

文革期间，共产主义劳动大学在江西省某山区成立。“抗大”老干部龙国正（郭振清 饰）被派到松山分校任党委书记兼校长。当时，两条路线的斗争非常激烈，围绕办学姓“社”还是姓“资”展开激烈讨论，地委赵副专员（鲍烈 饰）支持副校长曹仲和（陈颖 饰）把学校建在城郊，而地委副书记唐宁（ 温锡莹 饰）则站在龙国正一边，支持他们把学校建在山上。资产阶级思想严重的教务主任孙子清（葛存壮 饰），认为工农出身的青年没资格上大学，气愤的龙国正抓起江大年（李世江 饰）的手宣布：“这手上的老茧就是资格！”他聘请老贫农参予学生入学评议，坚持开门办学。肩负着社会主义使命的龙国正，面对种种困难和不满，能否当好这个校长呢......