備注：已完結(jié)
類型：喜劇片
主演：彼得·薩斯加德 比利·馬格努森 莎拉·加頓 Willa Dunn Ca
語言：英語
年代：未知
簡介：Sheltering from the 1918 Spanish Flu at their seaside estate, a Progressive journalist and his socialite wife take in a mysterious grifter as a private cook. But when the plague descends on the posh island, the family and staff find themselves cut off from society and, like castaways, struggling to survive. The new cook sees an opportunity to rouse his fellow staff to re-think their stations and have the run of the mansion for themselves. Their employer suspects the cook’s coup is part of a far more sinister agenda. It is not long before the mind games between master and servant breed an all-out war for dominance over the home. Social restraints crack apart. And civility gives way to animal instincts that lurk beneath…
備注：已完結(jié)
類型：喜劇片
主演：安德林妮·夏莉 羅伯特·約翰·伯克 馬特·馬洛伊 凱莉·萊卡特
導(dǎo)演：霍爾·哈特利
語言：英語
年代：未知
簡介：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 prisonerpenitent 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 notare 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.
