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未知
导演：
霍爾·哈特利
主演：
比爾·薩奇,埃迪·法可,Tatiana Abracos,Aida Johaness,傑·托馬斯,Jade Golden
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HD中字
简介：
Joseph Fulton, a well-regarded fifty-eight-year-old director of romantic comedies, wants to become assistant groundskeeper at a local cemetery. He wants to work outdoors and be close to nature. Meanwhile, he thinks it’s important to have his last will and testament drawn up. But his highly dramatic actress girlfriend thinks he must be dying and that he is just too brave to tell anyone. The rumor spreads and soon everyone he knows—and some he doesn’t—are crowded into his small apartment to say their last farewells.
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导演：
霍爾·哈特利
主演：
奧布瑞·普拉扎,帕克·波西,連姆·艾肯,羅伯特·約翰·伯克,馬丁·唐文,比爾·薩奇,詹姆斯·烏爾班尼亞克,洛伊德·考夫曼,吉婭,克羅瓦丁,凱倫·西拉斯,傑弗森·梅斯,克里斯蒂娜·魯納,John,Conlee,鮑勃·拜因頓,邁克爾·溫·古查多,湯姆斯·傑·瑞恩,喬丹·西奧多,馬克·達蒙·約翰遜,Andrew,Weems
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HD中字
简介：
《內德的步槍》是三部曲的最終章，前兩部分別是《傻子亨利》(Henry Fool)和《國家密碼》(Fay Grim)，爲以另類眼光看美國社會的邊緣提供了一個恰到好處的結尾。 在這部電影中，Henry（Thomas Jay Ryan 飾，《傻子亨利》片中角色）和Fay（Parker Posey 飾，《國家密碼》片中角色）也出現了，但他們變成了一幅畫像，慈愛地看着他們的兒子Ned，Ned今年十八歲，最近纔剛從證人保護計劃中釋放。儘管基督教徒從他的養父-一個教堂牧師手中接過他撫養，但Ned還是設定了報仇的目標：殺死他的父親，因爲那個人毀了他母親的生活。當這個嚴肅又端莊的年輕人開始他的復仇之旅，他很快就發現自己進入了典型的哈特利式的異端分子的團伙中……
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未知
导演：
霍爾·哈特利
主演：
羅伯特·約翰·伯克,比爾·薩奇,凱倫·西拉斯,埃琳娜·勒文松,馬丁·唐文,Mark,Chandler,Bailey,Chris,Cooke,Jeffrey,Howard,霍莉·瑪麗·庫姆斯,喬·史蒂文斯,達米安·楊
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HD中字
简介：
一對兄弟長大之後決定尋找他們失蹤多年的父親，他在六十年代曾經是激進的無政府主義者，因參加布魯克林的游擊隊準備向五角大廈丟炸彈而被通緝，因而離家逃亡。兩兄弟根據線索找到一間旅館，在那裏投宿等候，不料女老闆患有精神病的前夫出獄回來使情況變得複雜，而一名神祕的外國女子也設法阻止他們找到父親。 1992年戛納電影節提名金棕櫚獎 1993年美國獨立精神獎提名最佳女配角
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导演：
霍爾·哈特利
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
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简介：
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.