屋顶恋歌

　　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.

 从未失手的珠宝大盗，本想干完最后一票便金盆洗手，却与中年失意的精英高管意外结盟，联手布下棋局。另一边，深陷职场困局的王牌警探，正凭借蛛丝马迹一步步将矛头对准他们，更有黑帮劫匪暗中蛰伏，伺机搅局。螳螂捕蝉、黄雀在后，当规则与道德的边界被打破，这场颠覆命运的惊天罪案，究竟谁能安全脱身？

　　名優・笠智衆が主演した成瀬巳喜男監督作品。正月興行らしい豪華キャストで、家族制度における妻の立場を問う。家庭の中で唯一の他人ともいうべき長男の未亡人が、義理の両親を理解するというラストに、小津の「東京物語」へのオマージュが感じられて微笑ましい。

　　描绘主人公岛村（高桥一生）三次前往雪国的温泉旅馆，与当地一名艺妓驹子（奈绪），和一位萍水相逢的少女叶子（森田望智）三人间复杂微妙的情感。

　　由中国人投资制作的而在题材上走国际路线的一部典型的间谍动作片。男主角亨利是美国中央情报局的干员，他用巧妙的手法取得狐蝠战斗机的珍贵资料，但却存有异心，要将此资料在国际情报市场中高价拍卖谋利。于是，各路英雄都来到折卖地香港，展开了一场又一场的枪战追逐。最后却发现，原来整个事都是中央情报局设下的圈套而已。导演梁普智处理动作场面的手法是颇具国际水准的。单就拍摄成绩而论，它也是形胜于质的。本片的几个主角，都有是徒具一个表面的身份，而没有属于个人的内在世界。此外，本片忽视中国观众的口味。并缺乏了朴质的血肉之感。