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.
父爱很真实
其实他不应该相信别人，不应该被动，然而他住下来后，就已经选择了相信，选择了被动，这是宿命……
想看西部片就能看到这么朴实纯正的西部片真好。
混乱的西部，开始的想法没错，黑吃黑。
故事简单老套 叙事节奏有些拖沓 摄影画面和配乐还不错
十分硬核和老派的西部电影，全程一直担心儿子会死，没想到最后是比利小子死了。。。
it's a place I don't belong no more
大哥演了那么多配角，终于干了个主角，一如既往的狠辣。
威震江湖激流勇退 恶匪临门重现神威 两位黄金配角奉献返璞归真西部片
西部片还是很耐看的，在隐忍中爆发，电光火石之间局势逆转
原来是一代传奇“比利小子”，牛人，美国扫地僧！
前面氛围营造的不错，但是最后的大决战也太儿戏了吧，反转也是草率
父亲很丑，儿子很英俊……剧情比较缓慢……西部味道不错，但没有过人之处，比较普通。
他有一个不理解他的孩子
生命中分分秒秒都是生与死的较量。
简单粗暴的绝世神枪手，就喜欢这样的比利小子。
剧情有点相似 到走出了另一种方式 或许是亲情的温服让人为之改变 也为之有所牵挂
一般般，剧情其实挺老套，唯一的反转还行吧，老比利成就小比利...
今年最棒的西部片！故事结构紧凑，对白简洁明了，导演克制隐忍小火慢炖，一步步将剧情推向高潮，结尾再来个意外反转，老亨利完成了自我救赎，儿子认识了父亲，告别家园独自策马上路，消失在Oklahoma 州的原野。
他以一当十仿佛年轻的模样
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