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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.

自从与玛戈（米兰达·卡斯格拉夫 Miranda Cosgrove 配音）、伊迪丝（达娜·盖伊 Dana Gaier 配音）和阿格蕾丝（埃尔希·费舍 Elsie Fisher 配音）三个可爱的小女孩实现宿命的邂逅，曾经的大坏蛋格鲁（史蒂夫·卡瑞尔 Steve Carell 配音）可真彻底转型了，他金盆洗手，转而化身为慈祥可亲的爸爸和做得一手烂口味布丁果冻的商人。当然凡事没有尽善尽美的，在此期间，憧憬大坏蛋传奇人生的老搭档纳法利欧博士（拉塞尔·布兰德 Russell Brand 配音）离他而去，另谋高就。某天，格鲁被身怀绝技却鲁莽的特工露西·王尔德（克里斯汀·韦格 Kristen Wiig 配音）绑架，原来露西所在的集团研制出可以改变生物基因的药物，可他们位于北极圈的实验室被神秘窃贼偷走，因此才委托有过坏蛋经验的格鲁做卧底。经过一番考虑，格鲁接受了这项任务，带着超萌的小黄人们，和露西组成了爆笑连连的追凶搭档……

1950年代，某城市。除夕晚会上，机关办公室主任于树德（李纬 饰）向涉世未深的年轻姑娘陈佐琴（宏霞 饰）伸出了黑手，他无耻地骗取了姑娘的感情和身体。远在乡下的妻子杨玉梅（赵抒音 饰）浑然不知丈夫的行径，她带着孩子们等待着丈夫的到来。纸终究包不住火，陈佐琴无意间发现杨玉梅写给于树德的家信，方知自己受骗上当追悔莫及。后院起火的于树德一面用谎言安慰陈佐琴，一面着手采取下一步行动。思前想后，为了自己的名誉地位，他决心做一回陈世美。杨玉梅此时已看穿了丈夫卑劣的用心，她毅然同意与其离婚。而觉醒过来的陈佐琴决定状告这个人面兽心的伪君子。究竟谁被抛弃了......

这部金庸电影共分上、下集，此为1978年版本的下集大结局，由楚原改编及执导，主题曲由顾嘉辉作曲、黄沾作词、罗文主唱。主要人物由井莉饰赵明、尔冬升饰张无忌、余安安饰周芷若、徐少强饰明教青翼蝠王韦一笑、王戎饰明教光明左使杨逍、郑丽芳饰小昭、文雪儿饰殷离、韦弘饰明教护法范遥。剧情主线在于明教教主张无忌、峨嵋派掌门周芷若与元朝汝阳王之女赵明的三角恋，以及倚天剑屠龙刀个中秘密的最后答案，而赵明的最后去向亦为影迷所关心的焦点。