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.
后悔，总之是非常后悔，有这2小时去打游戏不好嘛，《月球陨落》对不起，我以为你已经够烂了，但你还有特效。简介写的世界末日，好的我当这是辐射3行吧（其实撑死冰汽时代青春版），一开始经典小组千里走单骑送快递，队友也是排排队领便当，太模板了吧，但是平心而论运送过程还是好看的。但最后在基地2个残疾人一路杀进去比合金装备还牛逼，还有前面中尉拼命要挤进来的原因呢？拿到了病毒为什么还要往目的地去呢？而且对手是谁？不论是谁也要搞病毒让大家一起死？讽刺也好黑色幽默也罢，那前提也是剧情完整吧，挖坑不填搞意识流
BUG太多以至于无力吐槽……架空现实的现代（不久的将来）战争扣分；对立面、战争起因扣分；不用雪地摩托非要用11路扣分（好吧噪音大可以忽略；那么既然为了隐匿性不穿雪地迷彩还一身黑这么显眼扣分；队友前仆后继送人头扣分（一开始都能知道谁先领谁后领盒饭，so predictable扣分；毫无意义的想使用生化武器同归于尽不讲武德，扣大分。so…… 22/03/19
影片讲述离婚不久的克里斯·戴克是一个富有的风险投资家，住在蒙大拿州自己设计的高科技房子里，在身体和情感上都受到保护，不受外界干扰。当他遇到斯凯时，他的生活发生了变化，斯凯是一个美丽、神秘的年轻女子，吸引他走出自己的舒适圈。 克里斯在一次暴力抢劫中受伤后，斯凯搬来照顾他，而她的真实目的很快就暴露了。克里斯成了一场精心策划的抢劫案的受害者，他突然成了自己家里的囚犯，得不到任何帮助，任由一个暴力的、心理不正常的杀手摆布，这个杀手打算夺走他的一切，也包括他的生命。当克里斯的前妻和孩子出现时，他们处于极大的危险之中，生存的唯一保证就是逃跑。
运送的是生化武器，女主被骗目的地能见到被绑架的女儿参加的，为了女儿坚持任务，也为了女儿摧毁生化武器
同为冰雪场地，跟冰路营救比，刺激、紧张程度完败，这还是末世战斗呢，哎
“这不是对付敌人的武器，是对付全人类的，他们躲进了地堡里，却拉全世界下水”
I love this movie.从来没有见过滑冰执行任务。几个士兵在冰面上滑行的画面很棒。故事节奏张弛有度。拍成这样已经很不错了。
背景设定没有很好的交代清楚，看了介绍才知道是末日后世界。冰天雪地也只有北欧那边才有的情景，最后病毒炸了，会不会扩散啊
剥开战争的皮，就是尼森大叔的拯救行动。母爱伟大
橋段老套的小成本電影🎬，全靠女主角的青春美貌苦苦支撐，看了一小時後放棄。
开阔的视野，主角都开了挂一样没被直升机扫射打中……最大的硬伤就是：女主脑回路有问题。
到碉堡之战前、可以给到五星，精彩的合成器音乐，残酷的战争背景，生命无常，震撼的冰上行动，极光荡漾………可随着抗战神剧既视感、儿戏般的碉堡之战让整部影片彻底垮掉，更别说女主最后的那些反智操作，真的可惜了
唯一的赞给女主的美貌......Lilly Krug (莉莉.库拉格)；
强撑着全完全片只是想知道发生了什么，破房子里的小孩，警察为什么要杀男主，美国大使馆也是一伙的吗，全程一直再逃亡，到最后我也没看得明白这些到底为什么，我也不知道了，好无聊，故弄玄虚，浪费我2个小时
不是我针对谁，在座的各位全是辣鸡，战五渣成堆
女主非常漂亮，前面情节可以，后面结局烂尾了，拿到一个手指就能拿到银行的保险柜不合理，女主杀反角也不合理，女主身材颜值值得加两星。
整体紧张感还不错，就是男主战力太垃了 全程被虐 有点假。 认识才几天的小姑娘 家里密码都告诉人家了……然后自己设计的房子安全锁 就只能用手机控制 手机被拿走 就让人控制了？…很鸡肋 抛去这两点 整体都挺好
后面女主那么多大动作最后查起来怎么可能脱的了身
五星单纯给长相完美身体比例完美的女主，这么完美的女主居然被安排完输这个片子就只配的一星
女主牺牲有点大，而且没必要，纯粹是为了加料
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