Reviews

This is an exemplary teen summer movie. Appealing characters, boy meets girl, boy loses girl, bog gets girl. And it takes place at the Italian beach. It really can't be better. I've watched it twice and will watch it again.

This isn't supposed to review the reviewers, but isn't part of a review to put the film in historical and societal context. I'm short on the history, but some reviews fault the movie for its morality. The film makers have their own views on morality. The truest review should comment on how the film makers transferred their morality, regardless of what it is, to the screen.

Others say they hate the score. That's hardly an indictment of the film. The score exists independently and prior to the film.

The film was amazing. Rob Marshall did a great job with CHICAGO. But this was so much better. The pace is absolutely perfect. I've been watching it over and over trying to figure out how he did it. He magically leads the viewer from scene to scene flawlessly. And there are so many plots he's weaving together.

What about the cinematography. If you don't like the score or the morality, turn the sound off and look at it as pure beauty.

And is this not the best adaptation of a Sondheim work? The creators of SWEENEY TODD didn't have enough faith in the piece to be true to the original. A LITTLE NIGHT MUSIC of course was a disaster.

Is there anyone who thinks this deserves only one star who wouldn't upgrade it after taking in consideration -- as part of the whole -- Meryl Streep's performance?

This film takes the content and amplifies it. That makes it great.

I must caution viewers not to read the reviews of those who take exception to the content. The content has been vetted on Broadway. Now how did the film respect the essence of the show and yet take advantage of all that film has to offer?

Although the content is terrifying, this is just not a good movie. There is no forward action and no plot to speak of. The acting and production values are great. But it felt as though it were shot in real time. The movie depicts day after day after day of misery. The other reviewers seem to think it was a good movie because of how it represents man's horrific behavior. But that doesn't mean it's a good film. It's a good depiction of how rotten people can be, not good cinema and Lord knows, it's not entertaining.

It also seems interesting that there are claims made that we haven't seen anything like this before. We just saw a nearly identical lashing- to-a-post-and-being-whipped in last year's CLOUD ATLAS.

A good example of this time period being represented artistically is Toni Morrison's book BELOVED. A simple visual representation of cruelty is not art.

Just gorgeous to look at. Certainly there will be Oscar nominations for makeup, costume and cinematography.

It is admittedly very long. It might be argued that there is not enough plot to sustain 2 hours and 18 minutes. But if you can resign yourself to sitting for 2+ hours, there is a lot to enjoy.

Rob Marshall is really brilliant. He very nicely sets up and brings back motifs that add satisfying layers to the bare plot. The imagery is stupendous. Particularly, the image of red in the river while the voice-over talks about war is hard to forget.

The ladies are all very good. Watch Youki Kudoh as Pumpkin for a richly developed supporting role -- and Li Gong as Hatsumomo for the geisha you love to hate.

Personally, I've heard only good things about SIDEWAYS. Even after reading the good press, I enjoyed the movie more than the reviews led me to believe I would.

However, I was surprised to see on this site a review by an individual who felt this movie didn't portray "real desperation." He feels that mere mortals can't appreciate this movie. It would be a shame for people to go see this movie with those comments fresh in their minds.

The reviewer suggests we look to third world countries for real desperation.

I was struck by how either happy or young this critic must be. What is brilliant about this movie is that it portrays the very real desperation felt by so many of us who do not have evening news-worthy problems. Everyday desperation is nevertheless soul numbing. It is a desperation even guilt-ridden when compared to the tragedies we see on television.

This movie has heart and humor. Maybe, or I suppose, clearly it isn't for those who have not felt desperation or are unable to acknowledge its legitimate existence all around us. Desperation that leads, as in the movie, to excessive drinking, or in other lives, to drugs, violence and sometimes suicide.

The intelligence of this movie is the combination of humor and soul. Paul Giamatti's Miles can even laugh at himself. That sort of self-awareness can be a great tonic for an otherwise grim existence.

And the performances are wonderful. That alone could make it all worthwhile.

What's not to like? Kate Hudson, Leslie Caron, Bebe Neuwirth, Stockard Channing, Matthew Modine, Glenn Close and more directed by the capable James Ivory, in a movie shot in Paris. That's enough for me to have fun. I didn't want it to end.

If you like Paris and these actors then you'll love this movie. It's just that simple. Naomi Watts is great. Unfortunately, she doesn't get to have any of the fun, despite the fact that she's the one on which the whole plot turns.

Just go and expect to be amused for a couple of hours. You will be.

Does Stephen Trask (HEDWIG AND THE ANGRY INCH) ever write a note of bad music?

This is a wonderful movie. Admittedly, the pace is not perfection. But the music is great, the jokes are funny and most importantly it portrays a specific milieu. And movies that bring the audience into a milieu they might not know exists are almost always interesting. I've seen this movie once and I'll see it again.

Ignore the critics who want to tell you what the movie isn't and what it should be. They'll only keep you from enjoying a good movie. Todd Graff has something to say. This is his movie and it works. One magazine reviewer noted that the kids in this movie emerge as full-blown professionals. Well -- they are! Most of these kids have never done anything before. That's part of what is being said here. There's all this talent that no one has ever seen. There are kids who are this good. Todd Graff found them.

Wow. What a great night at the movies. I would have sat through the movie again right away.

The concept is very much like that of the movie of CABARET. The musical numbers for the most part take place on a stage in an old theater. There's a lot of cross-cutting during the numbers to the reality-based segments. Really brilliant editing. After many of the numbers the audience was applauding. They were that thrilling (the numbers, not the audience).

The acting of the musical numbers was really toned down in my opinion. All the music was presented more as a "number" rather than a plot-advancing song.

Catherine Zeta-Jones was excellent. As a theater person, I would still rather have seen someone like Bebe Neuwirth, for example. Although I've never seen Bebe Neuwirth dance, I imagine she'd be really impressive.

Certainly this is the best movie I've seen all year. There's just no substitution for good material presented well.

Not a documentary or even a docudrama. However, offers an interesting look into how society might churn out a serial killer. Definitely worth seeing. Jeremy Renner does an admirable job of presenting an inside look at a lost soul. The rest of the cast is good as well. I originally feared it might be just a laundry list of victims' stories, but this is much better.

The number of wonderful comments surprised me. There's no question that the cast was excellent. Most of the cast have such compelling personalities in whatever roles they play, I always enjoy watching them. Frances McDormand, Katie Holmes and Robert Downey, Jr. rarely fail to add life to whatever scripts they're given.

None of the cast, however, can compensate for the script. In the first 20 minutes, I whispered to my companion, "I'm loving this!" Then it all never materialized. It was an entire movie of exposition clinging to a clumsy plot made almost entirely of far-flung contrivances. The endless dog bit added nothing to the movie but the promise of suspense. A promise that was never fulfilled. At some point the plot just disposes of the entire premise after slogging the audience through one implausible and uninteresting scene after another.

I did laugh. It was funny. It just didn't hang together.

Just walked in the door from Hollow Man and had to write a comment. Never in the history of IMDB have I seen a movie this bad. I was greatly relieved that many in the theater were laughing along with me at this outrageously implausible mad scientist slasher B movie. This is destined to become a cult classic. Beautiful scientists defying physics -- not only with their lab work but in their personal experience as well. Where but in Hollywood can you be run through with a crowbar and handily repaired with duct tape? I only regret that Mystery Theater 2000 on Comedy Central is no longer around.

When going to a Ridley Scott movie, I always feel a sense of security that I will be delighted with the cinematography, if nothing else. This foray into computer enhanced filming is horrible. Cleopatra, 30 years ago, was far more realistic since it was...well...real. Certainly, computers reduce the cost to produce a movie of this scope, but one is always aware that one is looking at a computer image. In old movies, where sets were built, there was no way to be sure that the movie wasn't filmed at an old ruin. The scenery was made of physical materials, not virtual images. Every time I saw those little pixels in the Coliseum flickering I was totally distracted. The whole movie, from a technical standpoint, is a case of "The Emperor's New Clothes."

This movie provided a great experience even if it's not going to be classified as great by film students. The acting was excellent, the direction was excellent, the screenplay was excellent and even the comedy (so frequently the weak link) was excellent, if not, perhaps, uproarious.

Further, what kind of curmudgeon would not delight in the way the word, "Go" is sprinkled throughout the screenplay. Leave your film books and notepad at home and you'll have a great two hours!

Absolutely enjoyable movie. This is film is not ground-breaking and only mildly thought-provoking, but the characters are so immensely likable and vulnerable that I couldn't help but smile the entire time. What it lacks in depth it makes up for in a myriad of plot lines.

It is true that although there was a lot of talent in this movie, most of the acting was mediocre. This seems to defy explanation. Somehow though, I forgave all of them since I so thoroughly enjoyed myself.