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.
国内电信诈骗题材的电影目前比较空白可以跟进一下了
娱乐性十足，剧作还是俗套的正邪对抗，婚礼那段就是纯粹的水时长，酒馆斗舞那段真的又傻又好笑（塔尔斯和游戏里一样可爱啊！）看着片尾的像素风仿游戏画面还有点感慨，世嘉的式微，一代喜剧天王金凯瑞的落幕。
首先，小刺猬够可爱，红色的那位出场也够帅，但是我搞不懂电影里为什么有机器人，看到后半段都猜到剧情了，还是喜欢第一部索尼克来南方小镇交朋友的故事
集中在电信诈骗那端反而效果不错，至少有那么点华尔街之狼的疯劲，拍着拍着总喜欢往动作片套路上来，先把自己的剧本修修吧
儿童向的电影，宝石的概念和无限手套一毛一样啊，还调侃了多元宇宙。
比第一部剧情更丰富，场景也更大，特效也足的多，台词也是各种梗夹杂在一起让人会心一笑，结尾的像素风格也很棒，不明白为啥评分比第一部还低，这种电影不就是图一乐吗
特效是各种制作的边角料凑出来的吧，去掉恶心人的几个黑种能多给一星
就是你也不能说很烂 其实我看的还挺开心的 但是说到底 剧情还是挺低幼的
虽然看着刺激 但很多细节也太不严谨了 而且为啥翻译是通话惊魂 明明是电信诈骗
如果从以青少年为目标群众的角度来看，这部电影做得非常到位，加上又有三个性格迥异的刺猬，商业性还算到位。但是从我个人角度而言，混乱的剧情、糟糕的人物设计，都对这部电影有很大影响。
1800万韩元不就是10万人民币么 装那么多袋子 怕不是越南盾吧
真人的部分是真的没必要，那段斗舞也是尬出天际了。
只留下三小只和金凯瑞，这部电影说不定可以五星。
个人觉得比第一部好一点。水下迷城设计不错。最后金色索尼克有点白悟空感觉了
基本就是按游戏剧情来编的，而且里面三个小动物的对白特别像游戏里角色的台词风格，而且还是那种日版游戏的美式配音，最后叫“爸爸”实在有些过分！除此之外好像也没啥可说的，最后的金色索尼克像是在致敬超级赛亚人。
娱乐性十足，剧作还是俗套的正邪对抗，婚礼那段就是纯粹的水时长，酒馆斗舞那段真的又傻又好笑（塔尔斯和游戏里一样可爱啊！）看着片尾的像素风仿游戏画面还有点感慨，世嘉的式微，一代喜剧天王金凯瑞的落幕。
前半部很好，后半部乏力，但总体还是推荐。
这次蓝色的索尼克有了两个小伙伴，三原色新联盟带来新故事、新挑战、更多欢乐*･゜ﾟ･*:.｡..｡.:*･'(*ﾟ▽ﾟ*)'･*:.｡. .｡.:*･゜ﾟ･* Have a nice weekend as a family day ☆*:.｡. o(≧▽≦)o .｡.:*☆
没有一好看，然而还有三。这是强迫症影迷不得不追的N步曲啊。
韩国人什么时候才可以睁开眼睛看看这个真实的大千世界
Copyright © 2015-2023 All Rights Reserved
