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.
穷才是万恶之源 父子情 夫妻情 皆被活着诅咒
超赞，比起电视剧剧情更紧凑刺激，感情也更加亲近普通人。才知道白狼小时候原来是光头
为了斩魔而创造魔，这个故事其实很一般，不过动画版再次演绎也是很棒的，算是前传吧。
一般吧 原来那个时候那么多猎魔人 画风非常欧美，我不是很习惯。 但是猎魔人一直被当怪物， 这个就很正常，原著矮人啥的最后不也被人类清理，很真实。 片头那个3s的狼头 好帅啊
画面血腥但有种平衡的美，维斯米尔和蓝眼女孩的感情真挚动人，但因为没看过其他作品，前因后果有点不太明白。
#7.3# 反套路、喜剧、cult都玩儿的很到位。 片长再缩缩，就完美了。
这不比国内动画强百倍，我没看原著，不是什么粉丝，单从电影角度看，是个佳作，贵在真实，贵在情节合理符合逻辑，贵在镜头运用巧妙
83+ 巫師三一周目結束了來標這個。還是相當好看的，作畫絲滑，人物也算精緻，適合遊戲打累了補補劇情。
故事不错，最好打斗精彩，如果拍成真人版会更好
最后男主差点被按到除草机里了才想到只有老爷子能救场了，老爷子从养老院逃走抢了印度护工的车是电车（娘炮车），然后电车没电也是显示没油的标志，黑年轻的自由派真的是不遗余力啊哈哈哈；不过反手老爷子都被除草机伺候了男女主还只想着跑路我人傻了；总体来说最近看了几部北欧电影（《正义骑士》）发现这些悬疑惊悚片虽然套路比较单一但是没了好莱坞流水线反而挺让人眼前一亮的
这么简单的故事硬生生用血浆和互虐撑到了两个小时，前半段的夫妻戏和黑色幽默好看
这个帅哥时期的维瑟米尔，我可以成为杰洛特的后妈！
“糟糕的日子”里想要寻找喜剧片的慰藉，结果心理阴影更大了......
相当不错的另一个魔幻世界，一个个被重构的角色和故事。
作为原作和游戏党，对此表示相当愤怒和失望。比电视剧集还要烂，这是什么狗屁作画，既然你不还原人物和怪物，不遵从原作和游戏设定，这就已经不再是猎魔人，只是一部乏善可陈的超英动画。网飞一贯的只会飙血和残肢的视觉效果，让我更加腻味。人物设计上已经到了可以震怒的地步，光头杰洛特，贝克汉姆客串维瑟米尔，真有你的啊。
还行吧，画风有点日式美系那种感觉，维瑟米尔年轻时冒险，无论在原著里还是在游戏里都没有的，纯粹原创，不功不过，另外吐槽一句：无论是哪个国家的故事，老美都要塞一两个黑人，开头那个黑人小孩，还特么是贵族，人家好好的北欧故事哎！网飞要是拍《水浒传》，那宋江和铁牛肯定也是黑人，正宗尼哥！
杰洛特在刚通过试炼的时候竟然是个吴克😂
维瑟米尔年轻时的故事，猎魔人前传，脚本细腻，音乐贴切，节奏控制的很好。有时寓意直白并不是缺点，有种古典浪漫主义。猎魔人原著其实是杰出的波兰当代文学作品。
-“So am I”
除开玩过3代游戏+看完全本小说的情怀加成（这个浪催又浪漫的老爷子啧啧啧），看看本作的战斗戏也值回票价了。
Copyright © 2015-2023 All Rights Reserved
