Gopan, a tourist guide's life takes a change as an unintentional statement by him lands his rival, Kuraichan, into the police station and ruins the later's family life.
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Greg R (fr) wrote: An ambitious, audacious film, Kevin's Smith's Red State is not scary, but it's not awful either.
Fong K (jp) wrote: viewed on 13/8/04 (Fri) The concept is original. 11 short segments of skit revolving conversations over coffee and cigarettes. I like most the one with Cate Blanchett playing a dual role, as the sophiscated Cate Blanchett and her white-trash cousin. It goes on to show how good the actress can be. I can hardly recognise the two very different characters are in fact played by the same person. I am not alone. As the credits rolled, a guy in the audience exclaimed, "Oh! It is the same actress!" I also like the one with Alfred Molina and Steve Coogan. Steve Coogan is a rather good comedian, playing a movie actor who initially looks down on the humble Alfred Molina until he know Alfred knows Spike Jonze. Yup, they play themselves. Ok, this is when I will gripe about the show. The concept is orginial and allow me to add that the performances are also great. But, the script is very short of brilliant wit. What a perfect waste of a good movie concept. It wants to be Quentin Tarantino-esque but churns out clueless nothings instead. The dialogue goes nowhere. Funny? At times, but it amounts to nothing really. Mr Tarantino is still the master at things like that. Rating: C+
Gabriella G (de) wrote: BORING! No sympathy for her story at all...
Michael R (es) wrote: Some great action and a committed villainous performance by Jonathan Pryce cannot make up for the rather disappointing and honestly boring second adventure for Brosnan's 007.
Joetaeb D (gb) wrote: One of Smith's most underrated comedies, Mallrats isn't as consistent as Clerks, But makes up with enough funniness and memorable moments. (especially Stan Lee's cameo.
kingmason7 (kr) wrote: raw and brutal. independant film must-have with a indy film darling in Harvey Keitel.
Brandon S (es) wrote: Are there bumps along the road? For sure. However, I don't believe that makes this a bad film by any means. No one can say that David Fincher didn't do a stellar job of creating a sense of dread and fear all throughout, even if reshoots and plot elements in the latter act do undermine all of that narrative success.
Rodney E (ca) wrote: 80's yuppies do coke and Downey starts to bob some knob. This may be why I think Spader is a tool. Made more cheesed out by the test of time but I didn't like this much even back in the day. Pretty standard and predictable.
James K (br) wrote: Amazingly paced film about how a housemaid became involved in an extramarital affair with her wealthy employer. The order of the house was in the hand of a loyal housekeeper who came to employ a single divorced woman to be a live-in and eventual nanny of the coming new twins. The housemaid instead became a sexual object of the master of the house and fell pregnant. I love the scenes involving red wine, which I believe had become a symbol of power and rotten wealth. How the transferring of the wine from the bottle held by the master to the glass held by the servant symbolizes such an intimacy so intense yet so wrong. The ending was a bit of a mystery to me. Perhaps, something did change in this family, but what? How would so much be accummulated in a little girl's mind?
Morgan R (gb) wrote: This review is also applicable to Das Boot. I am going to simplify my reviews of these two classic war movies into one topic ... values. By value I am not writing about monetary values. You have probably heard the phrase: "He knows the price of everything and the value of nothing". I know people like this too. Value in the movies being reviewed in not the intrinsic 'value' of the thing being fought over or for, but the sacrifice individuals are willing to make for the effort. Pork Chop Hill was a forgotten battle in a forgotten war and soldiers died to prove that they valued with their sacrifice a thing on no military value. Das Boot was based on a mission of failure for a lost cause, but of value to those men who died also to show that by their sacrifice they valued the effort and each other, not the mission.
Edgar C (it) wrote: You're not supposed to bury bodies whenever you find them. It makes people suspicious.Harry happens to have some sort of little trouble, and that is the core element of the story around which the events of the film circle... He just happens to be DEAD.I think it is fair to start by stating that 90% of Hitchcock's followers have been either disappointed or confused with The Trouble with Harry out of all the numerous users' reviews I read from three movie social networks. How could a comedy be conceived by the mind of the Master of Suspense(TM)?The fact that he made a comedy around a mystery plot featuring a dead man as the central element should not come as a surprise. Hitchcock's playfulness and humorous touches are extremely well known, be it either sexual tension between two leads (one female, one male) put together by extraordinary circumstances, clever dialogue deliveries or simply brief moments of slapstick. Well, why not let him be? Why can't he make a comedy with his usual plot trademarks? To those having an anticipated expectation of tension and suspense will be disappointed for obvious reasons, to which I would add the adjective "unfair", but to those looking beyond shall find a solid craft, which features good acting of fully distinguished characters, a smart screenplay which comedy is derived straightly from the dialogue delivery, and potentially the most astonishing color cinematography in Hitchcock's entire career, featuring landscapes which fully-colored yellow and red leaves have the capacity to become iconic, just as in Yimou Zhang's Hero (2002).From the opening shot, the care towards conceiving a picture of, at least, a decent quality, is noticeable, so it is definitely not just a filler in Hitchcock's filmography for cashing in. This feature in particular is characterized by the comical treatment of death, not only explicitly (as symbolized by a friggin' corpse), but implicitly, with some symbols here and there, one shown, the rest told with ironic remarks. What shines here is how Hitchcock successfully treated death in a very funny way without being insensitive or resorting to repulsing humor tactics.It is undeniable, however, that the film is a lesser effort in his trajectory that might fall into his third best quartile (or... second worst), which, considering the rating, is a surprising feat. The film is nothing short of entertaining and portrays Hitchcock's less macabre and lightest side of his auteur vision. Give it a try. Just remember not to have biased prior expectations the next time.70/100