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.
及格吧，小朋友看得很开心。本人觉得一般，画风剧情有待加强！
对亲情和情义的表达简单而直接，不附带任何核心价值观，和昨晚的春晚形成了鲜明的反差。虎墩毫无疑问是个熊孩子，老母亲看了都觉得上火，但他的行为表现和做镖师、见爹娘的信念都如此真实，这恰恰是孩子的视角，不是大人的视角。相比之下，片中不少成人的表现实在不咋样，比如弃妻而逃的新郎官，仗势欺人的黑二爷，靠师爷造假而“打败”天下武林高手的黑大王，个个卑劣而可笑。不少场景看起来都非常过瘾刺激，尤其是沙漠和神机堂打斗那段，很好看；不过打斗场面也有点过多了，毕竟这不是武侠片。
感谢#小丸子观影团# 组织看 #小虎墩大英雄#一部合家欢的电影，但是故事老套，剧情也有些硬伤，总体来说还是不错的电影，就是排片太少了
2022.02.03 中影南方古城影院 小虎墩，一个“留守”儿童，为了期待父母回来，对着大当家一句善意隐瞒的话认了真，拼了命的去实现这个目标。冲动、乱来，虽然经常闯祸，但也阴差阳错歪打正着成就了一点"小名气"。在他和“师父”一起押镖的路上，两人从互相看不上，到最后的生死与共，小虎墩把师父从过去的失败和自责中拉了出来，让他直面了曾经不愿触碰的伤疤，而师父也教会了小虎墩做人处事的道理。几个配角都很有特色，而反派boss更是充满了讽刺意味，非常值得回味。画风可爱，配音出彩，同场看的大朋友和小朋友都非常享受。
全片最佳居然是片尾字幕…汤甜和Woody一起居然搞出这么个脑残蹩脚青春恋爱剧也是无语。该B级片就还人家限制级应有的故事逻辑和角色言行吧，白瞎了carnage
我觉得很适合春节档和合家欢
客观评分2星，讲述菜鸟是如何乱拳打死大Boss的
为什么中国的动漫资源都在这些既没有才华也没有激情的人手上呢
邹四火，你这个片子放十年前还行，现在看没有进步，你团队的人都是技术出身，从导演到你，上一部豆福传就是故事出的问题。这次好一点，至少不乱。你动画定位有问题，要么给孩子看，要么给成人看。你用动画的壳做的成人故事，又怕孩子看不懂，拉低了成人片的思维。好好找个编剧，猴哥的编剧不适合动画题材。这个片子没有他的影子。还是把心思放在故事上吧。国漫已经崛起，这个水平还真不太行。你做大IP改编吧，像阅文，幻维一样。这部戏投资人肯定是亏钱了，你们团队还好。继续努力吧，别老思维了。
被小主角可爱的形象吸引，虎头虎脑，特别是他的技能“飞毛腿”，像个狗子在地上狂奔……让人捧腹大笑😂中间和想要和父母团聚，和师傅化险为夷的故事，又让我热泪盈眶。推荐👍
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也就过年合家欢看看，剧情老套!结尾强行年夜饭?!短袖!春节?下雪!连基本都服装也不配合一下。
片尾歌不错。
小虎墩也太萌了，虎头虎脑，虎了吧唧的，但是人小鬼大的他却有着坚强，勇敢，守信的优秀人格，特别适合带孩子看的片子，在搞笑之余，也给小朋友上了一课！！
好看，就是排片太少了！！！！强烈建议增加排片！不只是小孩能看，大人看的也很乐呵
可惜世界上没有如果，事实就是索尼放弃了辛辛苦苦打的地基，导致现在的蜘蛛侠电影宇宙（《毒液1、2》《莫比亚斯》）就是个垃圾。
这才是真正春节档电影啊！
个人觉得不错，剧情虽然简单，但是整体动画感觉挺好
“大英雄”倒不至于，就是想要表现亲情和勇敢的刻意的电影
想看→看过历时1080天，一千多天的期待，等来极致的无语。。。
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