影片讲述了一个16岁的小女孩Lucy有着一对十分酷的父母，他们上16岁的时候就怀上了她，而现在30出头的他们一个在体面的写字楼里当白领，一个是出差型的伐木工，偶尔才回家一次。这对活力四射的父母无论怎么看都感觉很酷，不过他们自己好像不这么觉得，甚至可以说他们对年轻时所做的事情感到了后悔不已。

　　At his first show in LA for 10 years, Chappelle charges straight into the fire with bits on Bill Cosby, O.J. Simpson, and his own brushes with controversy.
　　阔别洛杉矶10年后的首秀，查贝尔借用调侃Bill Cosby，O.J Simpson和自己过往的风波，直接了当地将现场推向高潮。

　　“动作”杰克森是正直勇敢的底特律警官，残忍的汽车大王德拉派恩为害一方，杰克森决意与他一斗到底。德拉派恩的妻子派崔西认清了丈夫的本来面目却不幸被杀。歌女阿西与杰克森萍水相逢，并决意帮助杰克森，正义的序幕被拉开了

　　一个即将毕业的大学生，她深信自己会成为一个伟大的诗人，而并不是每天在成人书店工作。

　　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.

　　A funny and irresistible story of a young girl who literally cannot see or hear her mother, even though she is living with her under the same roof. With the help of an eccentric psychiatrist, and a local, accidental hero, our heroine has to grow up, but falls in love and eventually takes hold of her future - despite not being able to see what's right in front of her.