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.

叹那空怀一身武艺却生不逢时、报国无门的杨家将后人青面兽杨志（吕良伟 饰），因不善于巴结逢迎而被高俅赶出御林军，从东京汴梁贬到大名府梁中书（马精武 饰）手下当差。在奉令押运花石纲途中遭遇连串变乱，命运急转直下，更被气恼的中书贬到伙头营当差。心情极度失落的杨志，即使在人生的低谷也不该其军人的骄傲与本色，在此期间结识了美丽的女子香嫂（孟广美 饰）。只不过香嫂也只能算作渺小的点缀，残酷的命运更等在前方。牛头帮头目牛二（计春华 饰）赏识杨志的武艺，一度想拉他入伙，继而成为杨志最大的敌人。随后他又结识梁山头目托塔天王晁盖，名臣之后面临重要的抉择……本片根据四大名著之一《水浒传》中的故事改编。

2006年，某广告公司文案蒋亮亮（冯绍峰 饰）和演员喵喵（倪妮 饰）相会于熙攘喧嚣的北京街头。他搭乘着从富二代车中出来后贸然坐入他车中的喵喵，与对方的兰博基尼相互飙车，看似见义勇为，却也给自己引来不小的麻烦。因工作关系，亮亮与喵喵再度相逢，二人相谈甚欢，别样的情感在彼此心底悄然升起。闹市的莫大孤独感，最终让两人走到一起。他们在北京一角同居，体会着属于两人的微妙幸福感。只是虚妄的幸福过后，裂痕在他们心间产生。亮亮号称对女性有“不主动、不拒绝、不负责”三大原则，而他和包括前女友梅梅等女性之间藕断丝连、暧昧之情也让喵喵心中滋生种种不安。这条路，他们该如何走下去……

22年来首次来到韩国，为了见爸爸…… 　　我的名字叫詹姆斯·帕克(丹尼尔·亨利饰)，韩国名字叫孔恩哲，5岁时被领养到美国。虽然成长在和睦的家庭，但是对亲生父母的思念却与日俱增。于是以支援驻韩美军的名义回到了韩国。22年来第一次见到了我的亲生父亲(金永哲饰)。我的父亲的剧照(9张)　　有句很想对您说的话，所以第一次学的韩语“我爱你” 　　22年来首次见到的我的爸爸是个死刑犯。但是我无法去恨他，因为他是让我存在于世界上的唯一理由。虽然语言沟通还有些问题，但是能够在一起已经是很幸福的事情了。虽然还有些生疏，但是总有一天我要对他说句话，“我爱你”。 　　……依然，您是我的父亲我们在一起的幸福是短暂的，痛苦很快迎来。不是因为爸爸是死刑犯、不是因为何时要离别，而是因为爸爸隐藏的秘密。但是无论您是谁，做了什么事情，请您记住我的话。从前也好、现在也好、还有以后，永远……您是我的父亲。