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.

令人黯然神傷的愛情故事！杭州富家青年樊家樹（宗華）雖被賣藝女子秀姑（施思）及財政廳長之女麗娜（李菁）所愛，但他卻鍾情於歌女沈鳳喜（井莉）。樊回杭州徵得母親同意婚事之際，鳳喜竟被她的舅父三弦出賣，被騙到少帥（馮淬帆）府中，終被少帥迷姦，被迫成為他的姨太太。樊回來知悉，大為悲痛，誓救鳳喜出魔掌。在關秀風（陳觀泰）、秀姑、麗娜的幫助下，終於將少帥殺掉，並將鳳喜救出，眾人逃至碼頭，但追兵窮追不捨，結果不幸的事發生了……

安静的农舍内，鸭妈妈正趴在窝中闭目养神，静心等待羽毛下那些新生命的到来。可是有一个小家伙似乎耐不住这样的寂寞，他自顾自滚出温暖的窝，径直撞倒了熟睡的汤姆面前。迷迷糊糊的汤姆无意中坐扁了鸭蛋，幸运的是那只莽撞的小鸭子奎克（Quacker）没有受任何伤，望着第一眼看到的汤姆，奎克热情地扑了上去，俨然将馋嘴的老猫当作自己的妈妈。美食在前，汤姆来者不拒，他直起架子，并将奎克绑在上面准备烤熟。刚好路过与此的杰瑞急忙救下奎克，然而奎克毫不领情，认定汤姆就是最最疼爱自己的好妈妈……本片是制作人Fred Quimby退休之后，两位主创（William Hanna和Joseph Barbera）首次担任制作人的作品。

清朝时，由岳飞创立的形意门一派勇于抗清，朝廷鹰犬任天化（任世官 饰）武功高强，四处搜寻形意门高手陈鹏飞（田俊 饰）。僻静的青龙镇上，隐姓埋名的陈鹏飞和孙子陈兴龙（成龙 饰）每日辛勤练功，陈鹏飞为了避免暴露身份严令兴龙惹是生非。这日，兴龙上街赌钱显露身手拆穿庄家骗局，当地富户随即邀请兴龙到自己的武馆中担任教头。兴龙将武馆改名为形意门，又隐藏幕后替馆主料理各方挑战者。青龙镇的形意门名声渐起，将任天化引来，懵然不知的兴龙将任天化一行引到家中，任天化将陈鹏飞杀害。幸有陈鹏飞好友八脚麒麟及时赶到，兴龙才免于一死，自此兴龙跟随八脚麒麟苦练武功，矢志为爷爷复仇……