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.
新兰永恒！！！新兰yyds！！！世纪之吻yyds！！！/没话说了，只能用永远的神来表达我的激动和泪目了。/以为是新电影结果发现是自己几年前看过的糖！第一次发豆瓣动态就是发的这个！！
混剪版本，没有增加任何新的元素，就是把TV版的做成一部动画，和其它合集版，没有啥区别
国配，马上猜中凶手，京都清水寺，闪光纸天狗，汉字偏旁组合，天花板上的足迹与血迹，
作为一部拼接作算是中等水平 但要是把它当剧场版 那绝对是近年来的神作
不想被剧场版骗钱，就来看看主线，没想到主线剧情现在也这么拉跨。推理都是什么胡说八道，动机也完全不是正常人能想出来的。同样是妖怪杀人和误会动机，早期《蜘蛛公馆》全方位吊打这部吧。（shine的日英双语梗我记到现在）至于新兰接吻，这不就是非常普通的中国纯爱偶像剧情节吗？而且这个场景放到600集之前和现在有什么区别吗？这里既然是兰对新一告白的回应，而且还是用接吻的方式，对兰来说一定是下了很大的决心，但整个故事完全没有把兰的心理变化刻画出来，兰就是一个在案件结束后接吻的工具人（伦敦篇做的相对好一点）。感觉青山刚昌现在已经完全放弃对人物性格的进一步塑造了，把角色的魅力点反复炒作，一点点消耗读者对角色的好感。从满月篇到达巅峰后质量就开始下滑，从波本变红就开始彻底降智，现在真是多看一集都在浪费时间
补马！近年难得真情实感看柯南了呜呜呜，主线情节就是最无敌的！
把名字拆成暗号 就会让出栗感到“被正名”吗 要是我我还是生气/但是新兰发糖就是甜 尽管这糖好几年前已经嗑过一次
有10年没追柯南的我，还是要来看一下新兰官宣的盛世。
第一次知道修学旅行这个概念在这里，笑点挺多的，新一穿运动装真帅啊
真的，扎导别再碰蝙蝠侠了。
等了很久，新一和小兰终于在一起了，很喜欢名侦探柯南
因为这部电影的主题曲入坑仓木麻衣，音乐响起就仿佛看到了枫叶飘落的景象
1.案件用民俗神话和影视圈方面做背景倒是挺流畅，但是核心诡计一般，仍有故弄玄虚感。用故事渲染枫叶之红，也算铺陈了恋爱的氛围。2.恋爱戏份远不如 2003年的《迷宫的十字路口》，兰酱痴痴等了这么久，男方就不能主动一点吗？！评分：7.0/10。
探案都不太重要了… 新兰党的胜利！！跟老妈一起看的 想起了快五年前一起去京都的点点滴滴 真好啊
部分剪辑不够用心（采血任务布置了两次），部分低幼笑点有拉低分数。
脚印那里莫名想到巴斯克维尔的猎犬
更喜欢以前的画风，现在的缺了些味道。新兰在经过二十年的坎坷风雨路之后关系终于又进了一步，在等二十年大概就可以走向婚姻殿堂了，在等二十年孩子应该出生了吧，真好，临终前还能看到结局。
bgm很好听，糖也好吃，但早期精彩的推理和悬疑色彩早已荡然无存了，没有感情、缺乏深度，只是个流水线上的产品罢了……
哇哇哇哇～柯南和新一亲亲惹，虽然只是脸蛋。看了这么久的柯南，终于看见以新一的身份和小兰呆一整部剧惹！但是最后的kiss竟然没有亲到，真的吊观众胃口呀！这部剧电影真的还挺感慨的，日常的沟通真的挺重要的，还是不要冲动。最后！！！基德真的好帅啊！！！好想做他的妹妹哈哈哈哈哈哈哈！
新兰老套路了，另外案子里好好的搞什么惊喜，说清楚就不会死那么多人了，无语=_=
Copyright © 2015-2023 All Rights Reserved
