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.
Amazing！这才是我们想看到的不同于漫威的超级英雄电影嘛！够血腥，够暴力，战斗场面花样层出不穷，几乎每首配乐我都喜欢。用不多的文戏塑造了鲜明的人物形象（可爱鲨鲨需要朋友、血腥运动的女儿），甚至还有一定的政治因素。当然当然，小丑女哈莉奎茵奉献了最华彩的段落，华丽且疯狂，试问谁不会爱这样疯批的小丑女呢。真的好久没有看这样流畅风格独特大制作的商业片了，整个人看完感觉太棒。9/10
只有我觉得拍得乱七八糟吗？主线明明是很简单的全员集结，但叙事和场景切换一言难尽，节奏很差啊。本来以为会是一部很风格化又朋克又幽默又cult的滚导电影，但时不时我就尴尬到了。看完只有哈莉solo的部分和最后跳到派大星（不是）眼珠子里的部分印象深刻。
太好笑了，给我一种银魂的熟悉感觉，一堆把不正常当正常的混蛋，和一个负责吐槽的正常人，还有一个蠢萌的鲨鱼王（相当于定春），其他还要啥自行车呢？
其实在试图解构权威、用“异质性”取代“一致性”的同时 这种anti的力学已经以一种难以自制之势滑向小a的位置——觊觎大他者却取而代之而不得 最终沦为权威潜在的另一极 (虽然专门等口碑放出再去的影院 然而还是低估了DC的迷惑性+高估了粉丝电影的底线 可能只有寡姐和哈莉·奎茵对打能骗到我的下一张超英电影票了吧……)
血肉横飞，屎屁尿段子一个接一个。疯批美人Harley Quinn，鲨鱼王超级可爱。大决战的方式实在是出乎意料…密恐慎入！
这绝对是超强电影工业才会产出的奇观型爆米花电影
看得很happy！鲨鱼老鼠好可爱！(但是怕老鼠的人要注意！有很多很多老鼠)哈莉女神yyds！还有一点小小的感动
抱的期望太高，整体没有很惊艳的感觉，但足够剂量的黑色幽默、血浆和细节巧思让观影过程非常愉快，滚导把这个相当一般的剧本拍成了75分。 虽然前期的宣传占比很少，但戏份一般的捕鼠者二代才是小队乃至电影的核心人物，这种设置很有新意，但表现出来真的非常尴尬，一会是父女情深一会是老鼠的目标，我相信也没人能够记住真的不太亮眼的她。 不知道到底是谁狠不下心来让反派真的表现出那份“坏”，最后只好还是在灰色地带徘徊，让他们成为底线是“kids”的反英雄式人物，这种不够爽快的设定希望能够少看到。主角的对立面设置得更加糟糕，脑袋上长满灯泡的人不一定聪明，斯塔罗来也匆匆去也匆匆，沃勒女士只会大吼大叫，总统和将军们都是废物。 总而言之，我是希望这部电影会做到更好的，可惜没有，但哈莉赚足了眼球，我倒也能多满意一些。
银河系漫游指南已提前揭晓了一切：这个世界是它们的。
挺多地方可圈可点的，没有了迪士尼合家欢的束缚，滚导彻底放飞自我，玩儿得倍儿开心。非常合格的商业爆米花片。但其实第一部除了结尾拉垮以外，整体更像DC传统的腔调。
发行方：Warner Bros.
还是DC一贯的情趣，前半段催眠，高潮戏好看
惊喜一个接一个，这个导演才华横溢，很会玩。哈莉耍标枪真是太飒了
为什么对比某导心里没点逼数？是哪群人从确立导演后一直在喷的，喷回你属于是大快人心
哈莉杀我！这才是哈莉该有的样子！DC出息了，BGM怎么这么好听，结果一看导演，金曲合集yyds！没有困难的任务，只有饥饿的鲨鲨！
故事老套，但是拍出了新意，可以感受到创作团队满满的诚意，血浆飞洒，全程无尿点，爽到飞起
DC会乳么？结果还是辱了。毕竟FLAG一套行头不算硬货都要几千美元。也就看看玛戈特罗比。
詹姆斯古恩再次致敬自己是与张艺谋齐名的撞色大师。美国在别国秘密研制生物武器造成大规模感染的梗最近也听太多次了（雾
詹钢最值得夸的就是动物角色 猥琐黄鼠狼 憨憨鲨鱼人 老鼠大军 大海星临终遗言竟如此浪漫 我也曾沉浮虚空 仰望星辰 我曾经那样幸福
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