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.
本来还想说动作特效不错，但这线条感和慢动作完全照的毒液来的（中间那段站到蝙蝠中，真当自己蝙蝠侠啊）
漫威搞这么个角色出来确定不是为了恶心蝙蝠侠的么
老套的变身故事，俗不可耐的特效辅助，狗尾续貂的战略意图，加在一起，平淡无奇！看着真没劲！
补标。严肃喜剧，所有设定都很装逼，看的好好笑。
标准的好莱坞流水线大片，全程甚至大战都很平淡。
当年看完超凡2对邪恶六人组满怀期待，如今被索尼的傻瓜电影策略搞得胃口全无。强贴蜘蛛侠，真就连彩蛋都不会拍。
血液博士研发了变身吸血鬼的针剂，然后两吸血鬼大战，最后召唤蝙蝠大军一招制敌，然后留了两个莫名其妙的彩蛋。
注射吸血蝙蝠的血清以期变身蝙蝠侠，结果变成了吸血鬼，因为蝙蝠侠靠的是科技，跟蝙蝠没啥关联，莫比亚斯拒食人血，不甘心成了反派，于是来了个吸血鬼二号，恰好毒液2也走了这条道，以更恶掩盖恶的来源，光明不可能，暗黑又没到位。
居然比毒液2还难看，身为索尼超级英雄宇宙中的一部。离开了漫威还真是不行啊。剧情老套，用了N遍的模板。还是能拍成这样。一个关系密切的人物，获得和自己类似的能力，最终成为自己的对手，并最后忍痛干掉他。黑豹里看过，奇异博士里看过，绿巨人里看过，毒液里看过。拍了那么多遍，还是毫无创新。无关紧要的情节太多，整体拖沓。为什么这么久才看完，因为每次看不了几分钟都忍不住去玩手机。这在之前看其他的漫威电影是不可想象的。
索尼以后可以把三流当作卖点，让观众自愿审丑
看完SOHO再看这个，真怕马特斯密斯穿上西装就跳起来，老渣男阴影挥之不去
这位导演眼里的超英片大概还停留在18年前《猫女》那种水准吧
在我眼里和迪家近两年的作品《黑寡妇》《十戒》也没差太多，至少档次比之《毒液》不要好太多。可能期待值拉到最低，特效和动作还不错？
好，无聊，的，剧情。莱托贡献了正常的演技和超高的颜值与身材，MS的反派也很讨喜，蝙蝠声波感应特效做得不错，很流畅。只有编剧，贡献了选低于水准线的剧情，太拉了，每一段都…………另外蝙蝠脸真的太丑了，正片结尾那个特写都能算恐怖片了吧？女主觉醒真的很 不 合 理，而且那个镜头特别暮光
5/10，《毒液3：会飞且自带粒子特效的致命守护者但是守护了个寂寞以及MCU多元宇宙彩蛋差不多得了》
一作sci 6.58
所以DC和漫威是平行宇宙吗，蜘蛛侠串起了两个宇宙
移动时的残影拖尾挺有意思，其他的就哈哈哈了，要啥没啥。
还好我聪明，上映的时候没有去影院受罪受折磨，但是我还是大聪明了，浪费了一个半小时看个garbage
比剧情和设定的bug，色调太黑才是最大的问题，最后的兄弟大战黑的一塌糊涂，打了个寂寞啊，这要在电影院能有啥观影体验，蝙蝠侠虽然也黑但没你这么乱啊。
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