仇杀病房

　　In the year 2961, the time is after humanity and nature has recovered the land. A hunter named Cygnus is called to rise above his duty. He provides for Last Arc, a once nomadic band of survivors in need of food and water that is now growing scarce. The answer must be found before a group of outlandish Heretics descend upon them. Cygnus must voyage across the treacherous landscape to defend his people. Sent by Nova, the matriarch of the band, she acts based on her vision for Cygnus to find a seed of hope. The future of Last Arc is for him to discover, Cygnus ventures into a hostile landscape in search of an answer for his people. On this journey of encountering many traps and dangers, Cygnus discovers what has been hunting him is his identity.

　　菲利普（布莱恩·科兰斯顿 Bryan Cranston 饰）是一位腰缠万贯的富翁，在一场滑翔伞事故中，他伤及了颈椎，导致全身瘫痪。如今，他隐居在自己豪华的别墅中，凭借着雄厚的资金过着离群索居的日子。在好友的建议下，菲利普决定招聘一名贴身助理来照顾自己的生活起居，在招聘启事发出去不久之后，一位名叫戴尔（凯文·哈特 Kevin Hart 饰）的年轻人出现在了他的面前。
　　戴尔并不算一个底细非常干净的人，他因为无法向前妻付清赡养费而即将面临失去孩子探视权的糟糕状况。大大咧咧口吐芬芳的戴尔很快就吸引了菲利普的注意，尽管所有人都觉得这个年轻人不靠谱，但菲利普还是决定就是他了。

　　达比本来是看管属地的，但因为年迈被麦克代替了位置。达比常与森林中的小人国国王布莱恩喝酒狂欢，但是因为常人看不见小人国的人，所以达比被人视为因失业而颠狂。布莱恩要满足达比三个愿望，善良的达比愿求爱女凯蒂有美 好归宿，当凯蒂不慎坠落悬崖，达比许愿让自己代死，而布莱恩将达比推离了死神，凯蒂与麦克也有了美好的结局，达比心愿全都达成。

　　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.