上瘾未删减版

又是一年万圣节，美丽女孩哈珀（凯蒂·史蒂文斯 Katie Stevens 饰）却跟家暴男友分手。对方心有不甘，即使在节日里仍对哈珀进行无止境的骚扰。夜幕降临，好闺蜜们已经装扮起来，一番死缠烂打终于将心情低落的哈珀带出房间。狂欢派对上，女孩们又认识了内森和伊凡两个大男孩。于是狂欢过后，这六个青年男女相约前往郊外的鬼屋寻求刺激。这间鬼屋煞有介事，不仅要求年轻人们签署协议，还必须把他们的手机收上来统一管理。完成入门手续后，哈珀等人进入鬼屋，结果第一场女巫残杀年轻女子的戏码就让她们大开眼界。受害女子凄惨哀嚎，折磨手段极其逼真，一度让年轻人们怀疑这是一场真实杀人秀。很快他们的猜测得到了验证，因为杀戮正朝着这六个人展开……

An all-archival deep dive into the ‘millennium bug’, the widespread cultural hysteria in the lead-up to the year 2000 that redefined our relationship to technology.The prospect of the millennium bug – aka the Y2K bug – was no joke in the late 1990s. When it was discovered that computers were not programmed to effectively interpret the two digits 00, many believed that our entering a new millennium would precipitate a catastrophic global technological collapse. As computer programmers worked tirelessly to solve the potential glitch, doomsday preppers began stockpiling arms and supplies, while state politicians and pop culture icons stepped onto TV to address the nation and debate the pandemonium. Through news reels, press briefings and home videos, co-directors Marley McDonald and Brian Becker craft a thrilling time capsule of a society grappling with the rise of computers, at a pivotal moment in contemporary history.源自：

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.

影片讲述娜塔莉·波特曼饰演的女宇航员从太空中完成任务返回地球后，逐渐偏离原生活轨迹，现实感逐渐消失的故事。