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.
非常非常期待的一部，但没有超出预期。电影院那段有点尬…而且舞会皇后的反转也很仓促，更不明白女主当选后为啥跳那个😂（现在的0真是一个比一个好看
太好看了！终于有电影是重返青春但是不穿越的了！欧美青春片永远🉑️！！！
剧情还蛮老套，基本能让人猜出下一步的所有剧情。但其中我觉得也是嘲讽了一下当下的矫枉过正😂😂最后看到女主的好朋友也在毕业典礼上跳起啦啦操的时候竟然有点感动
這檔製作大概是看好胖Amy及YA校園喜劇的結合吧，但她變瘦了會不會不那麼討喜了？而喜歡青春喜劇的……這又不是，真尷尬了 XD 比較驚豔的是從 Happiest Season後再見到Mary Holland及Easttown Mare後再見到可愛的Angourie Rice (原來她也是澳洲人阿! 酷)!
我承认做不到这么乐观，即使18岁那一年的Steven
如果学生时代的自己能看到这个电影，听到“做自己”，“be real”有多好。小时候对于幸福人生的定义总是如此的简单而现在才会认为真诚是多么的美好。
是看起来会超级开心的电影，尤其是舞会两人跳舞，cuz I’m your lady笑翻了
人生是一场漫长的寄宿生活，多爱自己久一点。这是一部开头知结尾的作品，没有太多波澜不惊，所有的情绪你都能猜到，不过长尾初主演，演技还是略微生涩，八木可太好看了。
滚啊 所有人都这么的蠢 这种片我可以拍一百个
满分！喜欢这种活力满满无坏人但又不过于理想化的电影
虽然还是熟悉的美式校园套路 但是rebel瘦身之后原来这么好看的吗 20年前的歌单也太戳了啊啊啊啊啊啊 以及现在的zzzq放回去对比一下真是扎心了
男生啦啦队队长，37岁女主的同学好朋友，哇！真的好帅哇～（感觉他和2022年舞会王子嘿嘿💙）
穿露脐装渔网袜的美艳小gay太诱人了，或者是4爱修勾？
节奏问题很大，人物全无弧光，但确实看的很开心，我称之为女性向屎尿屁喜剧
当20年前的价值观和当今社会价值观的碰撞还是一个很有趣的点，但电影并没有怎么去刻画这一部分。
植物人昏迷20年以后苏醒回到学校继续上学这个题材感觉蛮新颖的，但是剧情依旧脱离不了的老套，青春片常见剧情，爱情，亲情，友情之间的串联，成长，道歉，守护，万变不离其宗。挺乐呵的，美好的大结局。喜欢里面那个gay男生，和卷发女，他俩都好美！
我还以为是穿越回去，结果是昏迷20年后再回去上学，造成昏迷的实在是过分又犯罪了吧，剧情也好熟套
天～2000回憶大禮包✨✨🎵找Alicia 來真的太會（我愛他）🥹🥹🥹這種才能稱大彩蛋好嗎～天知道我到底多愛clueless 😍😍😍😍至於好不好看、合不合理都不重要啦！看YA 長大的，沒有人會苛求這一切的💕
好可爱啊 最后一段看得有点泪目了 真好真好 不过最喜欢的还是女主高中那段 好美好俏皮
几位00后演得还可以，当然还是抛媚眼的大叔们更有魅力。
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