天上的菊美

影片讲述了红姐在动荡的社会背景下的命运多舛，这也是他们这一代普通人的共同命运的故事。

　　七月（马思纯 饰）和安生（周冬雨 饰）的第一次相识在十三岁，她们一个是特立独行飞扬跋扈的“野孩子”，一个是单纯温婉循规蹈矩的“乖乖女”，从那一年开始，七月和安生几乎形影不离，她是她的光，她是她的影子，直到某一天，一位名为苏家明（李程彬 饰）的少年出现在了七月的身边，七月恋爱了。
　　安生决定前往北京讨生活，临别之前，七月意外的发现苏家明贴身带着的玉佩，竟然出现在了安生的衣领里。安生走了，七月和苏家明的恋情持续着，他们考入了同一所大学，约定一毕业就结婚。可是，事情并没有像七月所想象的那样发展，而她和苏家明之间的关系，亦因为安生的归来而产生了新的变数。

　　故事发生在1969年的一个冬天，女友的意外死亡让艾伦（乔纳森·杰克逊 Jonathan Jackson 饰）陷入了无尽的悲痛和恐惧之中去，经过漫长的时间洗礼和好友洁西卡的（埃丽卡·克里斯滕森 Erika Christensen 饰）耐心劝说，艾伦内心的痛苦才略有减轻。就在艾伦的心情慢慢恢复的节骨眼上，母亲受伤弥留的消息犹如一盆冷水当头浇下，为了能够见母亲最后一面，艾伦毫不犹豫的踏上了前往路易斯通医院的旅途。
　　在路上，艾伦搭上了一辆便车，令他没有想到的是，驾驶此车的农夫乔治（大卫·阿奎特 David Arquette 饰），其真实身份竟然是残酷嗜血的死神。为了能够顺利到达终点，艾伦必须机智应对乔治所抛出的一连串尖刻的提问，这些问题无一不与艾伦内心的阴暗面紧紧相连。在光明和黑暗之间，在生存和死亡之间，艾伦必须做出抉择。

　　一块陨石坠落在一个芬兰小镇，引发混乱与犯罪，也让当地一位牧师的信仰因此而颠覆

　　一名警察在一次办案中陷入了一场风波。他接下来的任务是营救上级领导的女儿，在这个过程中会有一位女探员和他一同合作完成任务，警察是否可以顺利完成呢？

　　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.