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Hilary C (jp) wrote: When they (rightly) made divorce easier I suppose it not only helped abused women but also men who wanted to abandon their families and go off with a woman half his age. When they (rightly) introduced social welfare it not only helped the needy but those who didn't want to work. No doubt if assisted suicide is legalised (again rightly in my view) it will help those who are suffering but also make some vulnerable people feel obliged to die so as not to be a burden.I am in my 80s and have been a life long feminist. I remember campaigning for legal and safe abortion when I'd seen the plight of desperately poor women, women who'd been raped, young naive girls in an age when life as a single mother was near impossible. Abortion was, however, always the last resort of the desperate. Little did I know that it would come to this. Jenny Slate's character leads an essentially egocentric life, makes money standing on stage pleading for the attention and approval of strangers, gets drunk, screws someone she's never met without using birth control, gets pregnant and falls back on society to help her abort her unfortunate off-spring and is presented as a heroine. Not only that but the entire film is a justification for the 'everyone does it, get over it, it's just a bunch of cells' attitude. In an interview Slate said she didn't want to trivialise abortion. How disingenuous. At the end of the film, we see these two spoilt adolescents in adult bodies, having just aborted their embryo sitting making tasteless jokes about it and getting over the experience by watching a movie. It was quite awful. I suppose free access to abortion not only helps the desperate but it helps the likes of Jenny Slate's character who see it as nothing more than a part an utterly self seeking and responsibility free sex life. I guess that's just the way it is and the price that has to be paid. Yet as the credits came up I sat with tears rolling down my face thinking this is not what I fought for. A feminism that glorifies the selfish and the destructive and trivialises abortion was not my dream. Jenny Slate you made an old lady weep with disappointment.
Mike S (nl) wrote: I chose to see this movie for Ryan Kwantan, and discovered Sarah Snook - an Aussie Emma Stone. This movie rises above the crude premise into a very entertaining, smart, modern love story.
Jim L (ag) wrote: This movie is not as bad as the Tomatometer would lead you to believe. I usually agree with the average critic scores, but I think they missed on this one. Of course the movie isn't for everyone, and it is violent and built on the idea of a psychological thriller. The story is not deep and though there are some twists and turns, the movie can drag at parts. That being said, I liked this movie and do think that anyone that likes psychological thrillers will also enjoy the movie.
Miki (kr) wrote: this movie was good, but i love the part on how he didn't give up on his true love, and that he will do anything to get her back. it was cute and sweet, i really like the songs.
Chris G (de) wrote: The encyclopedic Chomsky speaks truth to people on the lecture circuit in the aftermath of 9-11 in Junkerman's minimalist Japanese documentary.
elysium l (au) wrote: omg sooo terrible movie. bull sheet.
Merlin (ru) wrote: A compelling story, but it's a little bit tough to swallow John Ritter as the antagonist. He's too nice! But, that might be the point - because he's nice, people don't suspect him.
Collin P (gb) wrote: An interesting and action packed plot for this entry in the Star Trek franchise.
Sami Q (fr) wrote: That's the way to make movies... the Gulzar way. Since this movie, i have never seen Chandrachur singh acting so well, Vishal Bhardwaj giving such soothing music or Jimmy Shergill putting so decent a show. Om Puri steals the show in his negative role. brilliant story!
Blake P (es) wrote: If there were archetypal figures in the world of British romantic comedies, Richard Curtis and Hugh Grant would probably be the two uttermost defining people. Curtis, who has written or directed his way into legend status, has given us the likes of "Notting Hill" and "Love Actually". Grant, a charm monster for his entire career, has played the neurotic, likable male lead for ages. "Four Weddings and a Funeral" is a high point for both, a classic in its own right. Written by Curtis, the film is filled with his most noticeable trademarks: the abundance of silly characters, the unexpected tragedy, the shining exchanges between the two leads, and more. I've come to enjoy Curtis' films ("About Time" was a favorite of mine last year), and I feel somewhat familiar with his style. Though it feels as though he has a secret formula or template to make the perfect romantic comedy, he does in such a way that makes it nearly impossible not to enjoy yourself, even if it is just a little bit. Grant plays a typical Grant character, the kind that stutters when he's nervous, has the hair that looks like he just woke up (but you know it took him hours), and doesn't realize why women seem to pass out at his feet. He portrays Charles, an Englishman. We first meet him as he rushes to a wedding, severely late and, coincidentally, the best man. He forgets the rings and causes quite a disturbance, but once he delivers a breezily witty speech, it's impossible to not want to see what antics he'll be up to next. At the wedding, he meets Carrie (Andie MacDowell), a beautiful American. They spend the night together, and after she goes back to the U.S., it leaves both Charles and us feeling a bit empty inside. But true to the title, the story is weaved in-between four weddings and a funeral. And, unfortunately, at the next wedding, Charles and Carrie are both guests, but this time, she has shown up with her ... fiance. Surprisingly, the next two weddings have Carrie and Charles at the head, but not together. And if you're wondering, yes, there is a happy ending (if there wasn't, the film wouldn't be nearly as popular), but the film is worth a watch just to see how. Sometimes you have to remind yourself that the characters in "Four Weddings and a Funeral" don't just go to weddings and funerals for a living. The film doesn't want to bore us with the mundane details, and we're grateful for it. Grant is the leading man, but he attends the ceremonies with a delightful group of people that have the rapport of the cast of "Friends", even if we don't get to know their relationships quite as well. They feel at ease with each other, and like Curtis' other films, Charles' friends make for many good laughs. Curtis' writing is sharp, and the weddings really do feel like weddings: the awkward laughs are there, the meet-and-greets, and the "sorry for bumping into you"'s. Even Carrie and Charles' touch-and-go romance begins with that uncomfortable quality. "Four Weddings and a Funeral" is a winner, plain and simply, even if it doesn't present anything new for our cynical, modern times. It's a distinct reminder as to why Grant was such a huge star in the '90s and how MacDowell could drift between glamour girl sensibilities and girl-next-door lovability.
Algitya P (nl) wrote: See how Lie's spread ...with a great script .
Hampus S (nl) wrote: Cool actionfilm med favoriten Rourke
Mir O (au) wrote: weirdly psychotic movie with a climax only a surrealist would understand and appreciate.
John A (br) wrote: Shane is a near masterpiece in plot, storytelling, atmosphere, direction, cinematography and of course the performances by it's cast. The plot may seem basic, but that's one of the few elements that's great, it allows drama and action to build upon it, which it does successfully. The cast give a wonderfully intense performances, which also makes this film quite enjoyable.
Melania B (ag) wrote: This was the worst movie I have ever seen. It was a total waste of time. The whole movie was just about a couple fighting. Sure there were a few demon like things, but nothing that is scary. The only way I would see this again is if I wanted to go to sleep.