After serving time for murder, Josh Hutton returns to his home town where me meets Audry Hugo. No one can remember exactly what Josh did, but they are all wary of him, especially Audry's ... See full summary »
When high school dropout Maria Coughlin announces her pregnancy to her parents, her father drops dead on the floor. Her mother kicks her out of the house and her boyfriend dumps her, so ... See full summary »
Socially inept garbage man Simon is befriended by Henry Fool, a witty roguish, but talent-less novelist. Henry opens a magical world of literature to Simon who turns his hand to writing the... See full summary »
Thomas Jay Ryan,
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After serving time for murder, Josh Hutton returns to his home town where me meets Audry Hugo. No one can remember exactly what Josh did, but they are all wary of him, especially Audry's father. Written by
Tom Unger <email@example.com>
Provided the Unbelievable Truth with a name for their band. See more »
When Audry and Emmet are walking in the street rite after Audry tells Emmet she does not want to go out with him anymore if you look behind Audry you can see a car approach the corner and a crew member directing the car to turn left so it does not interfere with the shot, the crew member even walks up to the car. See more »
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.
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