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.
期待了半天，结果这个流水账似的电影唯一教会我的就是什么叫“刻板印象”：悲悯多爱的白人小大人，有钱学习好的华人小大人，搞笑担当的其他族裔。结尾强行拔高，我们跟大家不一样，我们独一无二，所以我们骄傲……不知道大家欢欣鼓舞个啥？最后演讲也没有用，还是靠魔法……照这个套路大绿狗、彩虹猩猩，斑点哈士奇都可以一拍再拍。又大又红的狗到底有啥意义？特殊在哪里？魔幻老头专门给养不了宠物但是心中有爱的人添麻烦是吗？
国产盗墓悬疑片，可能超不过寻龙诀了。这个电影演员阵容很强大，效果阵势也很大，但是故事本身是硬伤，演员也都太脸谱化，一眼看到底的那种。
大狗虽大，可爱不减。剧情不算多么新奇出彩。
差强人意吧，反转也没有什么太让人打动的地方
故事流畅，质感很差。审美较为苏联，古玩行业很封建。年度最没用女性角色黄烟烟，最膈应场景“好生养”，拜托男明星有点长进混了这么多年还不能用原声出演，你葛大爷并不是只能演老年纪春生。
是没有看过剧集的原因吗…这种东一榔头西一棒槌的闪现方式是真实的吗，人物和线索出现的方式也太随意了吧。
沙发！剧情有些老套的儿童片，演员演技略尴尬，故事年代有些错乱，而且因为Jack Whitehall出演总有种脱口秀即视感。
看过夏雨的剧版，期待感大减。
再爱狗都做不到养这么大一只巨🐶，无脑儿童电影还要加那么多zz正确的元素进去，唉
阿如那的表演是最出彩的，把什么雷佳音辛芷蕾葛优李现等全盖过去了。值得拿一个最佳男配角。
为什么豆瓣不能打零分啊？
典型的美国富裕生活甜腻片：优雅知性的英国种金发妈妈、私立小学、人见人爱花见花开的金发小美女、宠狗、废柴浪子回头、睿智的白人老头、华人爆发户、梳长发眼镜华人小男孩、拉丁裔店员、黑人警察、以及白人大坏蛋。
请了这么一票人，交出来这么一个结果，还不如把原来的电视剧重新剪辑一下呢。
电影还行，男主挺棒的，但即如刺杀小说家那电影里，胶皮脸的女主出来一样，瞬间电影成了喜剧片，这电影也不例外，我就想知道，演得自然就那么难吗？
国产片一如既往的软趴趴，就靠段子和煽情撑满时长。
改编自同名儿童图画书，电影自然就会比较低龄了，观赏性并不高。两星。
感谢学校把我这个18女高中生当作幼稚园小朋友 很有童心 哈哈
温暖又可爱，还是最爱的拉拉。女主最后一番发言，让我觉得狗狗的红色象征着纽约社区各人种的大融合大团结😂
如果有一天你的宠物变大，大家会有什么反应，我觉得应该会真的抓去做实验，被抓去作研究，感觉可以搞一个大型宠物宇宙电影
节奏上还是比较紧凑的，剧本上显然打磨还不够顺畅，比如许一城如何确定日本人会归还佛头？文中没有交代，以及人物不够丰满等问题，反而给人印象最深的是铜匠的郑国渠，凶狠狡诈，十分到位，视觉特效对于不懂古董的普通人接受起来更容易一些，整体还算是一部中规中矩的商业电影，要是剧本捋顺一些会更好，李现固然帅，但演技明显还是差口气
Copyright © 2015-2023 All Rights Reserved
