Reviews

I really don't care for absolute accuracy in a documentary drama, but to say this didn't capture some semi-divine essence of the man is preposterous. It tied in with the scant knowledge I think I have from purported observers. Jimi was 'discovered' in London even though he was hardly unknown in the musical world in the States ... did he become himself in 60s' London? Maybe. This is a brilliant film by a sensitive director. Did Jimi actually say those wonderful lines: "When the power of love overcomes the love of power, the world will know peace" ... but a good quote to steal from Gladstone. Shows his sensitivity. And the Michael X stuff is rubbish, Jimi is portrayed as seeing through it. That makes sense for someone from Seattle. It ain't Chicago. More nuanced in its racism. Jimi is just portrayed as a musician. Great film even if wrong, and I don't think it is entirely wrong. Jimi played guitar. The best ever. Watch it.

I am very surprised at the negative comments about this film, which I found hugely entertaining and likable in a black way. Surely it is provocative and rambling but with cameos upon odd-ball cameos spotted in a leisurely paced gun-toting cruel western, I give full marks to Dwight Yoakam in pulling it off. He wouldn't have attracted those names if they didn't like the mostly dark, witty and surprising screenplay. Billy Bob Thornton has priceless lines and delivery. The director uses unlikely outcomes of various scenes but so do most directors (otherwise films would be a lot shorter with the evil, heartless and sadistic co-stars bringing the heroes to premature ends) and the romantic side is just as incredible as the guns and violence. It's the best western set film since Dead Man by Jarmusch (with Johnny Depp and a similarly impressive host of stars).

A slice of potentially real French life, elegantly portrayed with the believable people ('characters' is the wrong word) being eminently watchable. It's a witty comedy that plays as a tragedy. The excellent screenplay reveals itself hesitantly, but that is the charm. The audience joins the story in the middle and leaves it before the end. The subtle everyday conflict of clashing tastes born of different beliefs - and no few prejudices - may seem rather boring plot compared with the latest Hollywood caper, but it leaves a magnificent impression of social relevance. And if you have not experienced the culture of everyday France, pay attention to the focal point the cafe takes. A word of praise to the two main architects: co-author (Agnes Jaoui) who directs herself as the barmaid (Manie) and her coauthor (Jean-Pierre Bacri) who writes himself the somewhat awful role of Castella. I must look out for their other works.

ignore those other reviews; this is a brilliant film. do not read reviews about this film which go beyond: "if you like films see this". any reviews which flimsily attempt to describe the plot miss the point. instead look forward to benefiting from an exclusive insight into how films of this genre - independent, arty, french/italian/german and pretentious - are made rather 'ordinary' and flat. enjoy performances from michel piccoli, fritz lang and an utterly confident jack palance playing a king of arrogant sleaze. and bridget bardot at her best is fabulous. [i cannot believe the other reviewers' comments, and apologize for them. they must have seen a dubbed version in a language that wasn't in their first 2. 30% of voters gave it 10/10. 0.1% gave it 1/10.] So, enjoy the cinematography in a 60s 'apartement'. enjoy the use of greek statues. enjoy fritz lang enjoying himself. enjoy everyone else's insecurity and be frustrated at the people not saying what they should say to save themselves from themselves. it's italy, france and germany vs. the commercial u.s. of a. the atlantic is a big ocean. then watch some kaurismaki films.