拉雷手

　　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.

　　因为太子在“朝鲜之役”上所表现出的高瞻远瞩的智慧，万历对太子的态度大大改观，率众人到太子府看望自己的皇长孙。宴席之上，三皇子主动要求速速离开京城，到洛阳就封，众人大感疑惑。辞行宴上三皇子早早酒醉，原来是想借此机会带姚芊芊私奔，不想被金碧瑶破坏。知道三皇子和姚芊芊私情的王恭妃决定有所行动。王恭妃设计让金碧瑶假怀孕，姚芊芊在郑贵妃的胁迫下打算除掉金碧瑶腹中骨肉，却掉入王恭妃的陷阱。王恭妃以“善妒”为由，废掉了姚芊芊的太子妃。而一时间关于太子妃红杏出墙的传闻又弥漫京城，万历要王恭妃彻查此事，王恭妃巧妙的将太极推给了郑贵妃，姚芊芊命悬一线，而郑贵妃面对王恭妃步步为营的反攻，已回天乏术，她打算弃车保帅……姚芊芊驾鹤西去，三皇子悲伤不已。郑贵妃准备杖毙朱由桦。兰心为了保孩子周全，不惜与太子吵架。太子生气之下和梅儿一夜缠绵，认为梅儿是最懂他的人。

　　医生楚乔发现自己捡回来的尸体，竟是何省长失踪的儿子。可为提高医术，他早已经把尸体开膛剖腹。为证明自己的清白，楚乔只好求助神通广大的小报记者聂冰，试图找到真正的凶手。在侦破的过程中，两人发现凶案线索直指十三红的班主红拂。而这起离奇的谋杀案背后，隐藏的竟是一段丑恶的权色交易！楚乔和聂冰本准备揭穿红拂的真面目，却意外发现她还有一个双胞胎姐妹红线。这对姐妹，一个好似邪恶的魔鬼，一个仿佛善良的天使，究竟谁才是真正的杀人凶手，结果已然浮出水面。