的士速递4

　　埃特罗在格鲁吉亚的一个落后地区经营一家规模不大的便利店48岁的她还是个处女因而一直是流言蜚语和嘲弄的对象她根本不在乎直到突然遇到了初恋这让她心头一震却并未改变根深蒂固的独立性格

　　Fraught with over obvious symbolism, Hartley#39;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 eg, 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 quot;I#39;m a mechanicquot;, 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 quot;You need a woman not a girlquot; is hilarious real But Hartley can#39;t leave it as such and his trick, having the actors repeat the dialogue overandover becomes frustratingly quot;artyquot; and annoying until again it becomes hilarious What a terrific sense of bizarre reality this lends the film like kids in a perpetual quot;am notquot;/quot;are tooquot; argument
　　Hartley#39;s weaves all of a small neighborhood#39;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 quot;unbelievable truthquot; 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

　　麦克瑞凡•菲尼克斯和斯考特基努•里维斯同为沦落街头的男妓然而因为相差巨大的家庭背景同为天涯沦落人的他们并非表面般心照不宣
　　时常昏厥的麦克脑海中一直充满着有关童年的破碎片段爱达荷的诗意田园也常常入他梦境他一心想找回失散多年的母亲将斯考特视为知己和爱人斯考特本是波特兰市长的儿子自甘堕落只为体会放荡青春的快感他清楚地知道虽然现在陪着麦克一路从波特兰到西雅图又从爱达荷到意大利麦克却成不了他最终的温暖归宿他能回归的是权势荣华与姑娘