To get royal backing on a needed drainage project, a poor French lord must learn to play the delicate games of wit at court at Versailles.
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jing b (ag) wrote: the BULONG i know stars Vhong Navarro and Angelica Panganiban. who are these people? it was a comedy horror movie. it was okey. the special effects was great.
Bahareh K (jp) wrote: good. the ending was a bit preachy for someone like Jalili who hates preachers, and weirdy beardies. he's definitely capable, but he's better suited for stand-up comedy and sketches. he conveys his message better there.
Paul D (ca) wrote: Production line stuff, this is a storyline that looks very familiar with the predictable ending.
Jamie S (au) wrote: It's a beautiful mess. (Oxymoron works wonderfully in here. But no, beautiful and mess aren't exactly opposites. Let's just say it's amusingly bemusing. There.)Someone has to be in Parallel Synchronized Randomness [phrase adapted from the film, which I'll MOST LIKELY adapt in future occasions] with Michel Gondry to totally pick up this creative mayhem. The Science of Sleep is a surreal, childlike invention, peppered with plenty of visual imageries and creative convolutions. It's a hodgepodge of lovely sights (including Gael Garcia Bernal's handsomeness), quaint sounds, and a pleasurable script, never mind if I did not get the whole story itself. Truthfully, it was schizophrenic watching the whole tale. In other words, I was picking up the ingenious craftsmanship but NOT the story. Stphane (Gael Garcia Bernal) couldn't delineate his real world from his dream world, and neither could I (Is he dreaming in this scene or is this for real?). All throughout the film, my brows were crinkling in puzzlement, but I had big smiles due to visual enjoyment. After all the credits rolled in, I took a dream-like state and had a mental rewind, then I finally got it. I had to. It's not that easy to grasp at first watch (for me at least) but having said that, the confusing storyline doesn't do damage at all. It's the R.E.M.-like effect while watching the movie that carried all the beautiful weight. 01/02/10
Laura L (us) wrote: From the output this film seems like a total drag but, just like the boys charm they're way on to the cheerleading squad, it charm's it's way to my funny bone.
Matt S (kr) wrote: Wow. In terms of acting, it was like seeing Denzel Washington sink in quicksand. The quicksand being the terrible actors around him. The more he tried to save himself... well...
RA L (mx) wrote: WEB-LETTERBOX. No se puede negar que est bien hecha y fascina, pero expone tanto su derrotismo que parece derivar placer de ello y resulta cansn. Tiene la virtud de contar con un cierre genial. / It cannot be denied that it is well made and fascinates, but it also exposes its defeatist attitude so much that seems to obtain pleasure from it and becomes tiresome. Has the virtue of boasting an awesome closing.
Doron T (gb) wrote: Truly an overlooked film of the 70's Jack lemmon is nothing but brilliant and teh screen writting is so good.
Kate J (ca) wrote: Although William Faulkner wrote a memorable short story which shares the title of this movie, the film is actually based on a story by William Gay called, "I Hate to See That Evening Sun Go Down." I have not read Gay's story; nevertheless, I feel comfortable guessing that like so many movies based on literary works, the power of the original story came from the inner life and thoughts of the protagonist and supporting characters. Simply watching the actions of the actors play out onscreen becomes an empty exercise when you don't know what they are thinking and where they have been.I can certainly understand why Hal Holbrook took the part. In the role of Abner Meecham, Holbrook gets to inhabit a haunted character whose present and future are such that even a past full of regrets and mistakes becomes food for nostalgia.But we only get glimpses of who this character really is; this is also true to Meecham's nemesis, Lonzo Choat. This is a problem.The success of these types of stories where strong characters go head-to-head and there is no room for compromise, it is vital that the audience becomes invested in the characters. And considering that the elderly Meecham is a widower with a disloyal son who has forced him to move into a nursing home after secretly selling the old man's beloved farm, Meecham instantly becomes the underdog we want to root for.But the title of the movie isn't, "An Unexpected Triumph." And since we understand that the main character is fighting a losing battle, it becomes unbearable to think that Choat, the stereotypical Southern "white trash" slightly sadistic drunk, is going to win. At this point, sitting through the movie can seem masochistic: there has to be a payoff. We need to be surprised by the characters: not by whatever shocking actions they may take out of desperation (too predictable) but by their humanity, pathos, and whatever humanity they have left.