76号魔窟

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.

In a world where the government records and taxes dreams, an unassuming dream auditor gets swept up in a cosmic journey through the life and dreams of an aging eccentric named Bella. Together, they must find a way back home.

《我来也》是一部喜剧加武侠类型的电影，“我来也”是一名行侠的神偷，专门劫富济贫，深得民间赞颂，而豪门富户则对他深恶痛绝，个县城门都贴满悬赏捉拿他的告示，但由于他的机智和来去无踪，官府对他无可奈何。一天，“我来也”到某县探望叔父金老五。金的邻居是在衙门里当差的王班头和他的女儿阿秀，王班头忠厚老实，并不甘心为衙门办事，阿秀是热心善良的姑娘，平日里爱憎分明，对“我来也”非常钦佩，但她平时过于任性莽撞，某夜，“我来也”翻墙而出“，引起了阿秀的怀疑，她暗中跟随侦查而遭到戏弄，遂怀恨在心，欲伺机报复。此后，王班头因不愿滥捕无辜而挨了县令的杖责，阿秀为了救父，遂与“我来也”……

张国荣跨越97演唱会，于1996年12月—1997年6月举行。由《风继续吹》，《红颜白发》，《风再起时》重新编曲串成的开场音乐拉开了张国荣“跨越97演唱会”的序幕。整场演唱会中张国荣演唱了《爱慕》、《侧面》、《今生今世》、《红》、《当爱已成往事》等近35首经典曲目。在演唱会中，张国荣将《月亮代表我的心》送给他生命中挚爱的朋友和亲人：母亲和唐先生，以及现场所有的歌迷。他同时也是第一位在演唱会上发起慈善募捐的人，为儿童癌症基金募捐一百万港币，同时自己也捐出一百万港币。