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.
我从根上就接受不了原著小说这种几大古董世家追宝的设定。除去个人不喜欢的这个因素，影片就还行的水平。葛大爷的表演，真的独树一帜，也是看到想笑的水平，但和黄渤沈腾不是一码事儿，稍微高级一点。
感谢学校把我这个18女高中生当作幼稚园小朋友 很有童心 哈哈
就… 适合跟小朋友一起看 寓教于乐。大红狗一出现，脑子就自动跳到前段时间看的那只红熊猫去了… 相对来说，更喜欢红熊猫呢。
with房东（）想说大部分六分电影的评分形状真的很像竖中指（）
不太看得下去…女孩演技太差了，呆滞的眼神好出戏。本来只想给两星，多一星给狗子吧
题材是非常可以的，奇遇类型，很适合亲子一起看，比较欢快轻松，神秘商人加分
多好的idea..刚读完绘本发现有电影 结果..
枯燥无聊的生活还是需要家庭娱乐电影，至少能暖心两小时。
阳光明媚的儿童电影，也适合成年人偶尔躲在里面幻想一下爱可以发电。不适合那些天天跟宠物争宠的动不动就“白左”挂在嘴边的反动物社畜观看。
爱死这种儿童题材的电影了，会让你恢复童真。
如果爱可以让爱犬变大 那我家凯哥可以吃下整个地球了吧 哈哈 电影其实很一般 适合陪着小孩打发下时间 只是一则寓言小故事 看着电影里对巨型狗狗非常友善包容的人们 对比之下 不禁唏嘘 结合下当下某地入室直接杀害隔离家属的宠物 只能叹息而已
I’m also not looking for a dog 🥺
6.7城市童话，没看过原著，处处都吐露着普通的童话味，这样的事情放在城市里格格不入，还有那条红狗，我真的觉得很可爱，但可爱不能当饭吃。
[视]派拉蒙流媒体，儿童片，个别镜头剪得极短。有个场景有趣，两个小孩驾车迎面遇上警车故作镇定，动物像人，小孩像大人，大人像工具
大红狗都是没有灵魂的套招概念，本质就是非常俗套的好莱坞式青少年成长电影。就有深耕多年的迪士尼做标准，才能看出派拉蒙在这部影片上下的功夫有多微弱。对于仿真狗的特效，都有非常强的反生理感。这种粗糙自然也同样体现在剧作上。连片尾那正能量的鸡汤，都老气横秋到像是十年前的东西。不说美国，放眼全球，越发割裂的局势，又还有多少人能容得下异类如此嚣张的发光发亮呢，都是童话式粉饰太平的美好幻想。
古董纹路的特效动画很赞，把内里和成色的编排做的非常到位，至于剧情和人物，内地电影市面上的人物设定，逻辑空乏，角色转变分分钟，滥用煽情，其实没啥有新意的地方，改编过多次的小说，到这部电影也仅仅是演员的粉丝狂欢，没啥可说道的地方。★★☆
Cliffford睡着时和Rio 一样，对球的爱好也和Rio一样。一颗星扣剧本。
一个由两个失落的灵魂引发的故事，最终以一个大家庭结尾，没有大场面，只有温馨的故事，有时我们需要这种治愈阖家欢的电影
6/10。浪费了一个好的儿童题材，质感像上个世纪的电影。想象力是匮乏的，变大后的狗狗只有一场公园玩球的戏是奇观的。莫名想到奉俊昊的《玉子》。
怎么说呢，就每一步都知道导演这段是为了啥。
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