苦荣
发表于9分钟前回复 :文森(伊马诺尔·佩尔塞 Ymanol Perset 饰)表面看来只是一介平凡青年,却拥有着一身了得的射击本领,年仅二十五岁的他作为官方认可的枪械教官,深受业内同行的尊重和赞赏,前途可谓一片光明。某日,一位名叫米罗(乔伊·斯塔尔 Joey Starr 饰)的警察出现在了文森的身边,殊不知他的所作所为将会彻底改变这位青年的命运。接二连三的意外让文森被迫处于争斗的漩涡中心,不断沉浮于阴谋和罪恶之中。特警队指挥官查韦斯(热拉尔·朗万 Gérard Lanvin 饰)和行动大队指挥官德纳尔(西蒙·阿布卡瑞安 Simon Abkarian 饰),两人之间的矛盾已经到了无法调解的白热化程度,他们一位是文森的保护者,一位是他的师父,身陷在恶斗的中心,文森将会作出怎样的选择?
赵默
发表于1分钟前回复 :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.