《马歇尔》根据美国联邦最高法院第一位黑人法官瑟古德.马歇尔的真实故事改编。故事截取了1941年瑟古德.马歇尔和一名白人律师为一名被指控强奸白人的黑人司机辩护的故事。两位充满正义感、肤色不同的律师，从互不认识，到心心相惜，再到密切合作，共同理清案情并确保案件得到了公正的审 判。本部电影根据马歇尔的真实故事改编，既是一部充满正义的人物传记片，又是一部冲突激烈的法庭悬疑片。 据悉，《马歇尔》有望于2016年美国大选期间上映，目标是“冲击奥斯卡”。而该片也聚集了一批好莱坞的优秀人才。好莱坞黑人影星査德维克.博斯曼将担纲主演马歇尔，而他也被爆出将出演《美国队长3》。编剧雅各布.斯克考夫和迈克尔.斯克考夫，前者撰写的《麦克白》曾获得戛纳金棕榈奖提名，后者则是精通法律的美国审判委员会康涅狄格州主席；因《被解放的姜戈》获得奥斯卡金像奖的雷吉纳.哈德林担任该片导演兼制片人。除此之外，曾制作过《碟中谍》的波拉.瓦格纳、奥斯卡金像奖《象人》的制作人乔纳森.桑格尔，以及中资代表罗雷、董俊分别担任该片监制和联合制片人。
在一个正港台客面包师傅，遇到了来自英国的贵族面包师傅，为了追求心爱的女孩，展开正面对决。两个男人，乡村面包店的土洋大战，谁输谁赢，口味将决定一切....... 糕饼（陈汉典 饰）是一间位于在高雄乡间“源晨面包店”的面包师傅，和店长邱爸（廖峻 饰）的女儿晓萍（陈妍希 饰） 是从小到大的青梅竹马。非晓萍不娶的糕饼，有一天晚上精心筹划了一场求婚惊喜，但晓萍心中一直有个渴望实现的梦想，因此面对糕饼的求婚仍旧不为所动。 这天，平静的面包店，来了一位帅气的混血王子布莱德（倪安东 饰）。身为国际美食旅游节目主持人，同时也是米其林三星餐厅主厨，布莱德为了寻找灵感，决定找出母亲生前最爱的面包，而来到这个纯朴的小镇。他对晓萍一见钟情，晓萍虽心有所属，但是，布莱德做的欧式面包，以及他浪漫温柔的举止，意外地搅乱晓萍和糕饼的生活。 在晓萍无心插柳的安排下，布莱德以房客的身分，和糕饼一起住在面包店顶楼，并成为糕饼的学徒。眼见晓萍与布莱德的感情越来越好，布莱德甚至要带晓萍离开台湾前往法国实现她的梦想！ 为了留住晓萍，糕饼决定接受健生嫂（陈盈洁 饰）的提议和布莱德来一场以“台式面包PK欧式面包”为主题的面包大赛。深情贵公子与认真黑狗兄的东西烘焙大对决，晓萍最终选择的是？.......
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.
