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.
一种俗套励志青春片换上了LGBT外衣的感觉
没看进去--好歹也看过百分之70的韩国这种类型的电影。。。这部真的不咋地
故弄玄虚的人物设定，把本来就很简单犯罪故事复杂化，女主林智妍支撑着我睇完，之前的奸臣和人间中毒太印象深刻，转型为短发干练造型很不错，后面实在拉跨，这片就是为了悬疑而科幻，实在给不了高分...
前半段不断切换身份寻求真相的部分还挺有代入感 后半段剧情有点老套 整体还是不错的 剧中乞丐是亮点
歌舞版的《Freak Show》，非常精彩。有这样的母亲杰米连做梦都会笑醒吧。（为什么几乎所有同志电影里面的gay都有一个自私，冷漠，骄傲，自负，大男子主义的父亲？《CRAJY》如是，《Freak Show》如是，《被抹去的男孩》如是，《Jamie》亦如是。这种人所谓面子比儿子还要重要？这千篇一律的父亲是普遍行为还是导演设定？）
太喜歡舞台版了所以有很多失落。卡司很好（Richard E. Grant出場太驚喜了我愛他😭）可惜劇情磕磕絆絆推得不是很流暢，多了很多絢麗的色彩和燈光，還有沉浸式的謝菲，但反而不如舞台的平實貼心。
创意挺新颖，灵魂也能互换吗？动作+枪战也算及格，韩国人的名字真是记不住，加上脸盲，男主好像孙悟空似的变来变去，受不了。
人生的梦想，有无数方向，不一定非要伴随，别人的期望。可以是个医生，也可以是个舞娘，身着艳丽的服装，在舞台上闪耀光芒。身边的同学，老师和父母，他们或支持，或沮丧，然而自己的梦想不需要别人批准，只要有爱你的人的帮忙，你就可以展翅飞翔。做自己的思想，是最珍贵的酒酿，因为闪耀在内心的快乐，会让你光芒万丈。
设定新鲜，每12小时从一个身体内醒来。但一个技巧用太多次，有点乱。
16岁高中生的变装皇后梦，做自己无需他人允许。根据同名音乐剧改编的，有点90年代酷儿浪潮的影子。只是为啥要换主角啊，我觉得音乐剧版的Jamie就很好，骨子里的妖气冲天；电影版Jamie好看却缺少了叛逆的灵魂，太小家碧玉了！另外，为啥歌都换了一波...
男主角因为被打多毒品，然后灵魂出窍到害他的坏人身上，然后失忆了找记忆的故事。
我觉得很好看系列 如果故事的内在更丰富一些这个电影就无敌了 首先这个类型剧很特别 比较抓人眼球 全程很能带动故事性 故事的内核有点太空了 但是这个题材还是值得4分 尹启相太帅了！
馋坏木叶大蛇丸
故事有点新意，一波接一波，灵魂出窍换身体，就是演员稍微差点意思，按这个节奏其实可以搞个续集。
因发现同事才是最大的贩毒集团后，被注射最新毒品，灵魂出窍附身在离自己最近的人身上，找到前因后果，救出心上人。
不断魂穿在一个贩毒加警察内鬼的案件中各个人的男主，无论在怎样都在拯救女主，动作爽片，最后一场戏有点john wick孤胆英雄的味道。
男主夫妻是国情局特工，男主和好友同事发现局内有人参与贩卖一种新型强力毒品，然后依次都被上司抓住了，实际上司和整个部门都参与了贩毒，想要伪造男主夫妇及好友互杀死亡假象，男主被注射过量毒品后，毒品导致灵魂出窍，利用一个贩毒同事的身体救了妻子和好友，然后撞车了，之后男主灵魂在当时注射毒品事发现场的几个参与者之间穿梭，每12小时换一个人，而且男主失忆了，男主利用这些人的身体开始查明真相，最后救了老婆。作为有奇幻元素的动作片，这个故事创意虽然离谱，但我挺喜欢的，剧情构造有一定想法也挺有意思，可惜的两种元素都没发挥好，既不够刺激也不够精彩，整体质量只能说还行吧。我给3星6.7分！
打的爽，科幻方面其实不算高明，但是奉献了一大堆好的男配表演
支离破碎拼凑版伯恩，创意不错，但故事做的无聊老土。
前面有种套beauty inside的壳加入了悬疑+动作的感觉，但中断开始有点混乱
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