孟菲斯（尼古拉斯•凯奇 Nicolas Cage 饰）是这个世界上最高明的窃车贼，中文字幕人们形容他为“gone in 60 seconds”，中文字幕即只要他盯上的车停在这里，他60秒内便能连人带车一起消失得无影无踪。孟菲斯终究厌倦了窃车贼的虽然惊险刺激但重压在身的生活，宣布金盘洗手 了。但他的弟弟却想步其后尘，不料很快就卷入了一次黑帮危险的交易中。孟菲斯为了救出兄弟，只好重操旧业，答应黑帮一晚内偷来50辆车。不料，警察正在密切监视着孟菲斯。当他偷得最后一辆野马跑车时，警车、警察直升机尾随而至，展开了一场马路追逐……
佐田雅志
回复 :身怀太极绝学的柳牧凡经营着一家武馆，一身正气的他以惩恶扬善为己任，因不耻代人作恶，不想竟惹上仇家，最终在徒弟们的帮助下，歹人被绳之以法，恋人董瑶亦终于打开了10年的心结，投入到他的怀抱。
李明洋
回复 :江长与明朝两位太子、顺治大师等人决心反清复明，江长掌握着反清义士的名单。莲花客多次出手保护江长及家人安全。戴莫因嫉妒江长之女与忠阳的恋情，假扮莲花客行凶栽赃真莲花客忠阳，终被忠阳铲除。
周彦宏
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.
