深圳罗湖关口，索命每日有数万旅客经此进入内地。这儿有一个落魄的香港人在等待机会，索命他是正东。不久，三名从香港来深圳寻欢的黑道古惑仔，甫一出关，即被正东截住，正东道出他的坎坷遭遇，希望对方可以借钱给他，江湖救急。其中一疏财仗义的给了他四佰元。正东拿了钱，交了房租，独自吃着饭，淌下了男儿泪……原来正东在江湖中曾有名气，与同门兄弟神经泰，均为大佬英哥的左右手。正东为人思想较传统，忠心重义气，却有份执着，从不沾手毒品。他在英哥身旁时，中港两地也甚吃得开，后来警方捣获一批摇头丸，予头直指英哥，英哥急着找人承担责任。正东为了英哥，返回内地暂避。起初，正东因为英哥的关系，受到不少款待。他以为这事很快便结束，便流连卡拉OK，泡北姑，挥霍如昔。而正东香港的女朋友也带钱去接济他。可是，渐渐那些款待他的人舍他而去，他也联络不上英哥。终于，正东的钱全花光了，北姑与他绝交，他香港女朋友也道明以后不会再拿钱给他
朱卫茵
回复 :日本当红歌星组合少女队的香港之行引起了记者和匪邦的骚动，少女队一向被管制甚严，歹徒多次企图绑架但无从下手，可这次却因为其经理人和接待人的疏乎而让匪徒阴谋得成。谁知匪徒之一的山本阳一，本性善良，只是被迫做贼，因为在对少女组看守的期间，对少女组发生了爱情，终于施计救出少女组并在警方协助下逮捕了匪首。
保罗西蒙
回复 :蒂娜的男朋友意识到蒂娜要开煤气度死自己和新生的孩子，于是一把抓起宝贝儿冲到里斯本街头。接下来他要做的事情构成了这部由葡萄牙导演佩德罗·科斯塔执导的过度沮丧的极简主义电影作品。来到大街上，这个年轻人试图把孩子卖掉，没有成功，接着丢弃在保姆家中，仍然无法解决。于是他把孩子送给街头的拉客妓女。与此同时，蒂娜和她的朋友也在努力找到孩子。尝试失败后，她们决定要向男朋友报复……
回复 :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.
