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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.

贝拉（克里斯汀?斯图尔特 Kristen Stewart　饰）的18岁生日到了，父亲送了她礼物。爱德华（罗伯特?帕丁森 Robert Pattinson　饰）大方示爱，并为她讲述了意大利吸血鬼王族的传奇。爱德华的红发妹妹爱丽丝（阿什丽?格林尼 Ashley Greene　饰）特意为贝拉举办的生日派对,期间,贝拉无意中划伤了手臂，遭到加斯帕的袭击，靠着爱德华的庇护，才逃过一劫。不过，此后，爱德华逐渐疏远贝拉，并提出了分手。这令贝拉心寒，但爱德华也有苦衷，仍在暗中保护贝拉。贝拉处于空窗期，昔日老友雅各布（泰勒?洛特 Taylor Lautner　饰）嘘寒问暖，两人的关系也由此升温。此后,贝拉因为跳崖获救,才得知雅各布是狼人,专门对付吸血鬼。与此同时，不知情的爱德华以为贝拉自杀，心灰意冷，来到意大利请求王族结束自己的生命……本片根据美国女作家斯蒂芬妮?梅尔（Stephanie Meyer）的畅销小说《暮光之城：新月》改编。

An undertaker who hasn't had any 'customers' in a long time is forced the pay one year's back-rent. To get money he starts to kill people in order to get new clients.

麦兜，一个长得不帅，头脑平平的小朋友。和妈妈麦太太，在香港一个叫大角咀的地方过着并不富裕却很快乐的生活。从麦兜带着妈妈的期望来到世界那一刻开始，他的脑海中一直飘满七彩幻想的泡泡。那个蓝天白云，椰林树影，水清沙白的童年的马尔代夫，那充满诱惑的圣诞火鸡的浓香，还有那个关于“抢包山”的奥运金牌的梦想，让麦兜平凡着他的平凡，却幸福着他的幸福。麦兜，和春田花花幼儿园的小朋友们一起，陪着我们，简单的在爱的呵护下慢慢长大。