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.

货车司机马汉强（成龙）赴美向移居美国的骠叔祝贺新婚之喜，知晓其打算婚后与黑人妻子过安静的晚年生活，经营多年的超级市场也已卖给了年轻寡妇Elaine（梅艳芳）经营。由于一见面就对Elaine有好感，马汉强主动协助Elaine打点起业务来。不久，以Johnny为首的一帮朋克党开始恶意捣乱破坏超市，面对他们，马汉强面无惧色勇敢地用起了自己的拳头，同时不忘晓他们以人生大义，然而这波未平那波又起，马汉强又被卷入了钻石赃物被盗的漩涡，受到了黑手党的追杀。

因抢劫杀人被判无期徒刑的父亲李强植（车胜元 饰），申请出狱一天与18岁的儿子相见。他们父子间，已经15年没有见过面了，彼此的脑海中几乎没有任何关于对方的记忆。这一天终于到来，多年的牢狱生活让李强植对外面的世界感到忐忑不安，与儿子相见更是让他紧张不已。他先是回家见到自己患有老年痴呆症的老母亲，再去学校把儿子（柳德焕 饰）接回来。分隔多年，父子俩显得十分生疏拘谨。回家后，他才得知儿子与奶奶相依为命，日子过得很清苦。之后，他们一同吃饭，喝酒，渐渐地，儿子的心扉向父亲敞开。当夜，父子二人决定一起到外面去，在空旷的街道上，他们奋力地奔跑着……

An ex-special forces operative wages a one man war through the streets of Amsterdam to rescue his friend's daughter from the local crime syndicate.