齐天大圣·无双

张红花的哥哥张石头因为救人而不幸溺水牺牲，她沉浸于悲痛中导致学习下降。为了照顾年迈的爷爷和失明的妹妹春妮，张红花整天利用放学时间捡破烂赚钱维持生计。谁料就在这时，张红花的爷爷查出患了肺癌，她彻底崩溃了…

　　本该温馨美好的情人节，四名漂亮的女人却收到了令人不寒而栗的古怪卡片，接着古怪恐怖的事情开始在她们中间发生。原来，这一切起因于她们上学时曾无情的嘲笑过个一个性格内向、古怪的可怜男生。现金一转数年过去了，当年高中舞会上的“丑小鸭”已经变成了“天鹅”，决定回来在情人节当日对她们实施最无情的报复。到底谁才是元凶，这四个漂亮女人能否逃过此劫？围绕在她们周围的男士人人皆有可疑……

　　故事设定在二战期间的巴黎，此时巴黎已被纳粹德国占领，霍夫曼先生因为自己的犹太人身份，不得不让家人先走并将自己的珠宝店托付给自己的下属梅西埃。但是人算不如天算，就在梅西埃与妻子布朗什入主珠宝店没多久，霍夫曼先生再次出现在珠宝店里。由此，三个人的命运纠缠在了一起。

　　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.