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.
轻车熟路的香港法庭片。法律，对于一些人是生意，对于一些人是信仰。
这个世界，因为正义，才有温度。
剧中有句台词，大概是：“对有的人来说法律是一门生意，但对有的人来说法律是一种信仰”。毕业快20年，已经说不出法律还是不是我的信仰。
KC不做对家做同场；庭审与勾心斗角得个样。脉络散乱不成章，气势未聚过早泄。最有趣处实则应在方生的小手段和智叔的大决意，但最大篇幅却落点于相互勾结的阴暗处。阴暗并非不足道，但起势凶得仿佛要谴责些什么，还不如闭嘴好好做戏。戏如人生，戏没做好，谈什么人生？
整体质量差不多就是TVB律政剧的一个单元案那样，故事是完整的，不过就毫无新意，毫无深度。方中信keep得不错，陈家乐有点灾难。
三星半有的，比很多内娱洗钱片，装逼片好太多了！
看老戏骨飙戏超爽也是真的。
港片TVB化的又一个代表 话说期待方中信回来演港剧呀
首先观影过程中，有两处感觉断层的厉害，跳跃性很强，不是很合理。故事是个简单的故事，逻辑性也正常，没有出彩的地方。最后方中信的一段独白还有点说法，其他就没啥了。人物方面，表演以及人物设定都不够丰满，尤其小助理演的有些尴尬，容易出戏。
少数几部开3倍速的电影，情节毫无悬念，人物转变生硬，编剧水平很稚嫩
中规中矩，最后慷慨陈词那一段过于突兀。不过看到廖启智，觉得真好啊。
有钱人，一个娃是万万不够的，一旦死了，钱都白瞎了。智叔到底还有多少戏没有播？只要有你，自带加一星。
真的一般般 剧情平铺直叙 真的一般 不知道是不是剪辑的关系 但是怀念廖叔
最后还是要靠权贵内斗翻盘，没看出法律正义在哪？
情节来说不过不失，老中演员的演技满分，青年演员就一般般，结果上说童话故事吧。
方中信谭耀文廖叔鲍姐曾江陈保元个个好戏 // “我地系辩护律师，唔系福尔摩斯”
电影的深意很足。是我最近看的电影第一部没快进的，也好不容易了
剧情简单，人物脸谱化，一丝悬念都没有。只有看看香港演员说粤语，是唯一的安慰。
虚情假意、口号式煽情、结构上的不明所以......香港电影向低智烂俗国产电影转型
屎到爆炸，旧桥旧戏，好似睇紧90年代TVB刑事侦缉档案，以后呢d甘嘅老戏骨磨皮加九流剧本可以统称为TVB大网剧。
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