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.
之前看过泰国版，一般般。还想日本为啥会翻拍一个这，原来剧本本身就是日本的动漫~
本来想为了艾丽西亚和开头女主房间的clueless打四星的，但最后的直播好无聊好拉低整个档次啊，还以为是千禧年拯救世界
看完这片怀念小甜甜、席琳迪昂，比较轻松的剧，但是各方面一般，
无论几岁，都需要给缺失的部分一个交代。不然可能不需要一场脑死亡，你也会永远停在那个年纪（或者毁掉自己）
奇奇怪怪，不知道想表达什么。女主瘫在床上二十年还能长这么壮实属实离谱
至於女主，真是只要自己不尷尬，尷尬的是別人～😂
完成度相当高。
规规矩矩的唱了一出不冒犯任何群体的爆米花剧，仿佛回到2008年左右的青春电影（政治正确版）
挺好看的爆米花电影 女主的演员是有点搞笑天赋在身上的哈哈哈
说想看欧美青春片就看到了，虽然不够青春，但是很快乐！
非常传统和经典的美式高中电影，甚至有点想起来了高中看过的歌舞青春和摇滚夏令营了，故事简单放松，而且温暖人心，讲述高中时期最简单和平凡的生活，也许和年龄无关，一生中最重要的就是我们爱的人和爱我们的人时刻在一起不是么。
除了第一段校园舞蹈的惊喜让人惊喜，其余冷漠脸看完。
这很有趣，轻松，有点情感，有点明显，但像这样的电影不是这样的 一切都需要。
谷阿莫，情节不吸引人，也许胖妹的表演还不错吧。
在周末的航班上看一部B级美式校园chick flick这件事大概没有人会拒绝了。
某种程度上也算是成功了……确实拍出了一种20年前的时代内容🤣🤣🤣但是以现在的观念来看真的好达咩
人生只是一场漫长的寄宿生活，这部影片至少是一部分日本人展示的人生观
Rebel真的瘦了好多，虽然剧情烂俗但也合情合理至少rebel演技值得三星。。。
2022年第47部：男主演技太差，人物性格转变太尴尬。
最后的镜头居然给到爸爸，神奇
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