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.
烧烤大蚂蚱一口塞不下！看饿了！
看到一半就想从电影院出来……真是老套到没有一点新意
比上一部大电影强多了 上一部是1.1版 这一部是2.0版 反正我家娃娃看的很开心
尽可能的发挥大荧幕能够带来的所有体验，足够的奇观与不错的试听体验造就了系列的终章，复古的幽默感与老三部曲的主角全部回归。
又是一个情怀系列的落幕。人们想看恐龙，你就多拿点恐龙出来看嘛，硬要走剧情，剧情又杂乱略无聊……不过一些熟悉的场景还是会让人会心一笑，追车戏那段挺不错，迅猛龙的戏份太少差评，博士洗白差评，最后强行一波生命大和谐宣言差评。
中文配音与动画片不一样、没有动画片那么可爱有趣～整体电影还是蛮感人的～孩子们很喜欢～
第一次去看国外儿童动画改编的电影，传达的观念和美国的主旋律电影都差不多，都是希望、包容、爱。希望部分，和我看钢铁之躯、黑暗骑士崛起、超凡蜘蛛侠2一样，让人充满希望，重新振作，国外孩子在这种环境下成长，我才会放心让自己孩子看他们的电影。对比这几年我看过的国产动画电影，某些海洋公园的5D电影，那种甲亢式的狂躁、张牙舞爪，人物形象丑陋恐怖，观感各种不适，吓得孩子都害怕，汪汪队就衬托得5星好评了
娃第一次在电影院看电影，看完直呼还想再看一遍。当看到狗狗们从新总部出动的时候，那酷炫的滑梯给我都整激动了，哈哈，没有困难的工作，只有勇敢的狗狗！
莱德是不是姓史塔克…这简直就是复仇者联盟外传
汪汪队队员人数+1 把所有品种狗狗都划拉齐的节奏 but 为啥没有三傻。。。
一个多小时的电影小朋友们也坐的下来，大人也没有觉得很无聊，说明剧情真的不错！
剧情对不到三岁的娃而言还是比较复杂的。娃看完表示再也不想看汪汪队立大功了，老母亲表示不理解。
特别棒，比上一部还要出色，节奏非常好，不会让人有疲惫或者审美疲劳的感觉。很多效果堪比大片，阿奇救莱德的决心居然能让我这个大人都有些泪目了
陪娃看电影3 狗狗拯救世界！娃很喜欢看，看得入迷！
动画片，剧情很简单，
现在汪汪队剧场版有着像柯南剧场版看齐的趋势，剧情不重要，画面才是重头。环保，爱狗，有点像爱宠大机密的感觉了…救援主题果然适合小孩子
莱德说汪汪队大楼是用卖周边的钱改的真的是笑死我了。
还不错，比动画片精致好多，偶尔还有点小帅。反正儿子看得很开心。
两岁半的小娃娃表示电影有点儿长。不过看得挺开心。第二天还在回忆着电影的内容。
音效和配乐确实是一部电影应该有的样子，平淡的剧情在其衬托下居然让人有激动的感觉。别看好莱坞在疫情之下有疲软的趋势，但是他们成熟的专业程度还是值得国内业界学习的。最后吐槽一下人物，莱德一开始是典型的无能领导，给员工分配不符合其能力的任务导致团队陷入危机。但也是个很讲心机的领导，他强大的洗脑能力使员工超常发挥，拯救了自己。电影对川普的吐槽，算是给陪孩子看的家长们的一点安慰吧。anyway，女儿开心就好
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