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.

实加（石田光 饰）和千津子（中岛朋子 饰）是情同手足的姐妹，千津子非常疼爱自己的妹妹，而实加也心安理得的生活在千津子的照顾之下，不用为任何事情操心。不幸的是，一场意外夺走了千津子的生命，为了安抚心碎欲绝的母亲，实加不得不在家中扮演起了姐姐的角色，这一切令她感到十分的疲倦，无人倾诉的实加只得将心里的郁闷诉说给姐姐的遗像听。一天夜里，实加在路上遇见了几个小流氓，在这千钧一发之际，姐姐的魂魄竟然显灵了，千津子赋予了实加强大的力量，帮助她击退了流氓。实加终于发现，即便已经不再人世，千津子依然挂念着她。

在浩瀚的宇宙深处，驻扎在某小行星的地球联邦军队凯西堡垒遭到宿敌虫子大军的攻击。强袭舰雅丽莎号的彪勇战将奉命救援，在这个沦陷的基地内，却发生令人费解的一幕。超能力战略官员卡尔·詹金斯博士将卡门所负责的战列舰约翰·A·沃顿号的指挥权夺走，不知下落。战争的最后，雅丽莎号的战士们救出幸存者，小星星也在爆炸中灰飞烟灭。为了查清消失的战列舰的下落，强尼·瑞克命令返航途中的雅丽莎号迅速掉转船头，追赶约翰·A·沃顿号。效用彪悍的勇士们合二为一，开始了新的漫漫征途……本片为《星河战队》系列发表15周年纪念作品。

《火烧红莲寺》诞生在1927年中国近代史上轰轰烈烈的大革命失败以后，其时国民党屠杀昨日的同盟者共产党人的屠刀，令社会充满了血腥和失败的气氛，失望和避世的情绪也在社会上弥漫。这部影片的问世曾被视为满足人们逃避现实情绪的一个典型代表。但就中国电影本身而言，《火烧红莲寺》也有着特殊的意义和影响。它在商业上的成功为中国电影在市场上的立足开辟了一种电影样式，尽管它并不是武侠和功夫电影的始作俑者，但正是它带动了中国电影史上第一次武侠电影热，此后武侠电影也成为在世界影坛上最富于中国特色的电影种类。《火烧红莲寺》上映后广受欢迎，一时有万人空巷之感。故此后在三年内连续拍出了18集，足见其商业的成功，同时更引来了无数的效仿者。从1928年到1931年，中国共上映了227部武侠神怪片。同时，片中的一些特技摄影在当时也充满了创新意识，银幕上的剑光斗法、隐形遁迹、空中飞行、口吐飞剑、掌心发雷等种种绝技，也使它获得了“武侠神怪片”的恶名。1931年，鉴于武侠神怪热与中国传统文化的极不相符，国民政府下属的电影检查委员会下令查禁包括《火烧红莲寺》在内的所有宣扬怪力乱神的电影，这一波武侠神怪片热潮戛然而止。不过，一些导演遂转至香港，并于1935年在香港拍出了第19集《火烧红莲寺》，武侠电影的传统也在香港得到传承。