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.

在一暴风雨晚上，服装业家周宏业驾车回家途中，发现一个不知名的妇人倒卧路旁，将她救回家中，才知是一名孕妇，且即将分娩，周妻唐静如手足无措，宏业外出觅医途中竟惨遭车祸，孕妇产下女婴婷婷後，留书离去，希望静如收养女婴……

1960年代中期，桂城体操小将尚小立（娜仁花）勇夺全国少年体操锦标赛的全能冠军后，与教练李桂芳（陈祖荣）一起被调往了北京。李桂芳响应国家领导人对体育训练工作的指示，为尚小立大胆设计了全新的高难动作和训练计划，力争赶超国际水准，不想遭到体操集训队教练组长、未婚夫周一鸣（谭天谦）的劝阻，李桂芳誓要培养尚小立成才。出国比赛的日子临近，尚小立一心想着在他国赛场为国争光，训练异常刻苦，然而由于她的技术动作还做不到十拿十稳，周一鸣私下并没将她列入出国比赛名单，从队友口中得知此消息后，尚小立遭遇严重打击，训练也无法继续，李桂芳此刻又成了她的良师益友。

经过一番艰难的考验，吊儿郎当的人类青年乔纳森（安迪·萨姆伯格 Andy Samberg 配音）终于和吸血鬼女郎梅菲丝（赛琳娜·戈麦斯 Selena Gomez 配音）携手走入婚姻的殿堂，而以梅菲丝的父亲德古拉（亚当·桑德勒 Adam Sandler 配音）为代表的怪物们，和人类的关系前所未有地密切起来。婚后不久，梅菲丝生下了可爱的儿子丹尼斯。小家伙一天天长大，外公德古拉对他疼爱有加，他热切期望丹尼斯能够成长为出色的吸血鬼。与之相对，梅菲丝认定儿子是一个普通的人类小孩，她希望能带丹尼斯走进文明社会，远离暴力血腥的怪物世界。为了阻止女儿一家的离开，德古拉想办法支走梅菲丝，同时叫上科学怪人、狼人、透明人、木乃伊等一帮死党，要在有限的时间里对丹尼斯展开一场吸血鬼养成教育集训。两代人的观念分歧，在怪物的世界中也不例外……