1825年，天堂后拿破仑时代汉诺威王国伦尼茨的小伯爵，天堂英俊、聪明的森林管理员沃尔特·菲什特纳在被选为悲观的海因里希伯爵无用的儿子迪博尔德忠诚的男仆时，忘记了他接任前任导师、老地产管家森内森的梦想，即使他被当作替罪羊虐待，森内森依然忠心耿耿。沃尔特的情人，不守规矩的女仆吉塞拉·弗纳格尔，经常因为嘴唇和一些小毛病而惹上麻烦，这都是欺负她的伯爵夫人命令她要的。沃尔特总是抵制和磨练她的革命思想。森内森是侧身，但设法让伯爵提拔沃尔特作为他的继任者。嫉妒的迪博尔德怀有一点怨恨，渴望吉塞拉并设下一个可怕的陷阱。
炫龙
回复 :藩王割据的唐朝末年，西北黄河流域的柳、段、李等王均想独揽天下大权，战事不断。柳王爷（计春华）攻下段王府，段王爷（靳德茂）弃府逃命时被黄河大侠马义（于承惠）救下，随后马义所在的村寨被柳王爷率兵血洗。这一切都被李王爷（赵志刚）看在眼里。马义结识江湖艺人车天（淳于珊珊），后者见他武艺高强，便怂恿他设场卖艺，敛下不少钱财。李王爷派人游说马义，想将其收在麾下，不成后将其双眼毒瞎，马义误以为此事系车天所为，想杀之解恨，误会解除后两人成为生死兄弟。不久，段王爷迎马义入府，见其眼瞎但剑术依旧出神入化，便假以“恩公”相待，利用他先除掉了柳王爷。段王爷派杀手阻截李王爷，不成，转而欲杀其女真真（万琼）时，真真被恰好路过的马义救下。段王爷听闻，又生诡计，此时真真与马义已生出情愫。
张雯婷
回复 :故事发生在亚洲黑社会势力强大的美国旧金山。FBI亚裔警探汤姆为了救同事杰克（杰森·斯坦森 饰）击杀了一名黑社会杀手，引来全家的杀身之祸。当杰克来到汤姆的度假小屋时，汤姆一家已经被烧为灰烬。 汤姆一家的惨死成了杰克心中永远无法弥补的遗憾，时时刻刻折磨这他。 事发三年后，杰克在调查各帮派一些核心人物的命案时，发现一个叫罗杰（李连杰 饰）的杀手，他头脑冷静、神出鬼没、枪法精准，表面上拿着中国帮会的钱，背地里为日本帮会服务，却不服从命令放走了中国老大的妻女 随着调查的深入，罗杰的秘密被一一揭开，杰克在震惊的同时，也不得不重新面对当年汤姆一家惨死的真相。
蒋雅文
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.
