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.
99.9系列麻烦一直出下去 推理严不严谨无所谓 看他们耍宝才是最重要的
女主角真的是太可爱了古灵精怪的。
3.8 案件太多bug 中间就猜到呃会不会是小孩。。。。结果还真是 人设崩塌了有点
还是那个配料，还是那个味道。追求真相到底是不是正确的呢？错的是那些包庇真相的大人们。对于守君来说，以后的日子是不是只能在忏悔中度过了呢。
一直盯着看哈哈哈哈哈，
3+1，1⭐给超级赛亚基因3的冷笑话和结尾岚团的歌。
喜欢！小花这个人设真的太中二了可是我好喜欢w 电影里竟然奈奈和文乃都来客串了呀 看sp原以为西岛叔是大boss 结果电影戏份不是很多 真相有时候确实残酷 "追求真相不一定会获得幸福 但是谎言不能救人"铭记于心 最后电影主题曲出来的时候爷青回 啊如果有第三季就好咯 深山律师的故事感觉可以一直看下去呢w
案子又烂又长比SP还没意思，强行转折的结局生硬惊喜也一般。一二代女主带着自己特典性的出场，就是电影版女主设定真的很不讨喜,职场关系户+学人精看得难受。不过当成粉丝怀旧向作品的话还是可以的，就听着片尾曲，还是狠狠地怀念了。
如果不用这种喜剧风格来拍的话，我会觉得这是一部虽然剧情略有逻辑bug但情感动人的犯罪悬疑题材的电影。每次女配扯着嗓子模仿漫画里的角色时我都只觉得耳朵疼，比男主的谐音梗冷笑话更加无聊。
哈哈哈一如既往的好看，道具组真的SP超级用心～
可爱 开心 快乐 案件重现拍两遍水时长有点明显 道枝作为反转点存在感却如此稀薄
完全在看演员们的对戏和互动，没咋在意案件。小花演得太可爱了，尤其是听到冷笑话时的笑声与眼神，哈哈。
质量和多拉马持平 但是我对映画要求好像更高点 希望加长版的故事做得更好 故事性还是差点
整体来说不是很吸引我 结局凶手的反转还是挺有意思的。总感觉这次的重复推演有一点拖沓，看得很累
案子其实挺沉重的 自家孩子的人生是人生 人家整个家庭的人生就不是人生了吗🚬还有说不出哪里不对 但是跟剧相比就是差了一点味道 片尾曲又在回忆杀了
互动比剧情好看，杉咲花的人设很讨喜。tbs还能再续一季吗，我真的很爱小律师。
道枝弟弟怎么到哪都这表情…穿校服的那段以为在看最近的金田一…西岛在电影版里存在感严重下降，夸一下花真的好合适那声“哔”特别出彩～前两季女主的登场，该存在的点都提到了，情怀满意。整体观感，不错。但剧情，有点瞎，最后的结论，让人怀疑整村人的脑回路不太正常。
比sp 逻辑性强很多，但是看的时候也并不觉得这是真正的电影，加长版多拉马而已
喜欢99.9的可以看，喜欢犯罪悬疑的可别看。
事务所里南云看向女主，似笑似哭的表情，克制中蕴含翻滚的情绪，get到西岛叔的演技
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