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.
很多桥段挺老套的，打不了nba还是可以来cba么，有这一身本事到哪不是挣钱……詹姆斯出品，所以一堆大腕客串
唯一的败笔就是非得爱情圆满一下，圣母院被炸掉的时候，很难不笑出声，这样的娱乐精神，到了我们这儿估计又是扣娱乐至死的帽子
低创，不如《城市猎人》，虽然不想挑三拣四的但有些地方实在是太低创了，完全就是几个梗翻来覆去的搞，不过总体上还蛮好玩的节奏赶得上，女主的颜我也还是吃的，最后的小反转也还算用心，当然，一切都没有最后的吸尘器的光彩夺目，这吸尘器广告真没白花钱。
Élodie Fontan是真的像Sienna Miller……22/06/20
打了二十年的野球，非常吃这个电影套路，不是篮球迷可能会觉得俗套和无聊。但是篮球迷很吃这一套。尴尬的是，主角并没有成为联盟巨星，然而反派华子不仅拿了状元，且是一颗冉冉升起的新星！把猪脚换成库里，然后结合库里的发展 编一个故事，一切就通顺了。
这就是恶搞（也可以说是致敬）的最高境界 ，一部反套路的无厘头法国喜剧电影，每当说起法国我们的印象还停留在法国是一个浪漫的国家，法国的爱情片，法国的文艺片，但是没想到法国把喜剧玩的这么高级啊哈哈哈！片中突如其来的熟悉片段，突如其来的熟悉音乐，真是太喜欢了。
客串了这么多球星、解说，😍竟然还看到了绿军曾经的少帅史蒂文斯！
猝不及防的搞笑啊，虽然很短，但真的很有趣！
选角替补得男一，突遇车祸很懵逼。现实电影分不清，奇袭城堡救娇妻。
梗的质量实在不高。一些演艺界笑话和个别屎尿屁还行，伦理哏和冒傻气的笑料太多有些糟糕，气球防护罩那个不是原创。为了巴黎圣母院的段子，给加一星吧
这年头儿想看个纯直男向的蠢蛋恶搞喜剧，也只能指望法国佬了
但这部作品很不错，他在滑稽的边缘上完美滑行，让人欢笑却不过度，放得干脆，收得及时，所以看起来很舒服，不尴尬。如果还有什么可以更好的地方，我觉得是，在影片最后如果稍稍的给出一点暗示，暗示男主可能确有一点超能力的可能性，就更令观众欣喜了。
恶搞的路数和美国真不一样。美国好的恶搞大多对人不对事，骂政府绝对政治正确，但不能骂好莱坞。好莱坞拍了那么多超级英雄，自己恶搞可以，独立电影恶搞就只能拍成人电影了。法国人才懒得管这些呢，好莱坞又不给他们发工资，管你漫威还是DC，谁流量高就恶搞谁。这是有传统的，鼻祖叫塞万提斯。。。
没有之前的城市猎人好看，笑点也比较少，剧情老套
Élodie Fontan是真的像Sienna Miller……22/06/20
剧情流俗平庸到难以置信，所有冲突和转折闭着眼可以预见，角色也完全不进行挖掘。唯一的亮点是史蒂文斯的颜值……
故事设定很不错
笑点很多，但还是离不开jjdd这些。另外恶搞的算是非常成功了，各种超英情怀满满。
很不错的一部电影，球探老爹非常出彩，反而是球员有点面瘫。整体节奏一般般，及格线以上的作品。
各种玩梗 DC漫威一锅端 顺带连时事也不放过 以及发过喜剧电影必不可少的警车撞警车 至于屎尿屁的笑点见仁见智 不多评价 但影片故事多少有些单薄 结尾更是草率 都没反应过来大反派就被制服了 怎么说呢 看这种电影不能太认真
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