During their childhood, Hanna and Clarissa were best friends. They spent every vacation together in an old summer house on a small island. Shortly after Hanna’s 9th birthday, they suddenly lost touch and only meet again unexpectedly 25 years later. Hanna is now married, has a seven-year-old daughter and is the chief resident physician at the hospital where she reunites with Clarissa. Her old friend has been brought to the hospital ER for overdosing on sleeping pills. The two women pick up their friendship where they left off and spontaneously decide to spend a few days on the island, just like in the old days. When Hanna learns that Maria, a playmate of hers from the island’s village, disappeared as a child and was never seen or heard from again, she begins to search in the past. Something horrible must have happened on the island and they must have been involved.
Maximus F (de) wrote: God awful. Whoever greenlit this should never touch film again. Maybe they never will considering the production value is quite high and this made $809 at the box office. If you want to see stuff you probably have never seen on film before, go for it.
Gimly M (it) wrote: Firstly, I am not patriotic. That in mind, I love when we Aussies bring out a film that gets international recognition. Unfortunately, these aren't often good. GOOD Aussie films like The Square, Cthulu, Dying Breed, Rogue, Cactus and Red Hill get virtually no recognition at all (and those are just some of the bigger films!). Tomorrow however, much like Wolf Creek, is actually good, AND received international acclaim. Just to clarify though, I don't think it really deserves to ever be compared to Greg McLean's Wolf Creek, despite my having just done that. Wolf Creek was a genuine fucking masterpiece, Tomorrow is what we refer to as "a bit a alright"; which is only a real compliment when given to a lady.The film was long, but I ended up feeling like it really needed to have been longer, the set-up was just right, but the second act felt rushed to the point of stupidity. Though my final rating isn't dependant on how the film racks up to the John Marsden book it's based on, I'd like to make a point of stating how infinitely better a character that Lee was in the novel. This fact was in no way what so ever the fault of actor Chris Pa- PSYCHE! All his fucking fault. This guy is not an actor. Neighbours could maybe of made use of this kid on an off day.By stark contrast, Caitlin Stasey who portrayed protagonist Ellie Linton actually DID come from Neighbours, but scarily enough she did a great job in Tomorrow.It's one of those films where you can't help but find yourself arms outstretched, screaming at the television as the characters make stupid errors. Which is a double edged sword, on one hand, it means you've got fuckstupid writers, but on the other, it means you've got great writers. Paradox? What I mean is, to have the script be so badly written that the people behind it honestly thought we would ignore the plot-holes and retarded decisions is just plain weak, but to get the audience gripped by characters in such a short amount of time all comes down to great story telling.The thing to really look forward to here is the intrinsically Australian environment, and even more than that, are these little tidbits you would miss if you blinked. Quotes like "The book's better than the movie" as genuine pieces of conversation are well worth the films downfalls.All in all, the action is great, the soundtrack and actors are at an average bearable, there's a number of subpar moments, but none of which you can't get over. The ending to me seemed weak, but I asked some international friends of mine what they thought, and they all told me the same thing; "Nah we totally bought that, Tomorrow is basically a documentary about how arrogant and badass Australians really are, right?"63%-Gimly
Kristina K (nl) wrote: So much misery. But that's life.
Scott B (br) wrote: It's not bad and has some pretty good points... if you can ignore the obnoxious idol worship that takes up a good portion of the film.
TaTiAnA (gb) wrote: not as scary kinda funny
Jake Z (it) wrote: With all the praise he has gotten since, David O. Russell has yet to match up to I <3 Huckabees. It is still my favorite film of his. So relatable, so hilarious, so amazingly indulgent. With one of the greatest casts ever assembled. Isabelle Huppert AND Dustin Hoffman? Yes. It's perfection.
Shi Y (fr) wrote: A romantic and funny ghost movie..not as scary as i have expected..
Sonia D (ag) wrote: Yet another amazing love story.... Love this classic.
Clay B (de) wrote: SHERLOCK HOLMES AND THE SCARLET CLAW (1944)
Robert B (ru) wrote: Island of Doomed Men (Charles Barton, 1940)Pretty amazing that you could get away with this sort of thing as late as 1940, though they did soften the racist blow by having the male lead be white (and, of course, devastatingly handsome); uneasy undercurrents watching it today, but it's still surprisingly compelling. Much of this, of course, is down to Barton, one of the best-loved directors no one's ever heard of; he helmed this while in the middle of his first much-beloved film series (the Five Little Peppers movies), then went on to be a late addition to one of early filmdom's biggest franchises, Abbott and Costello. Barton directed what may be their best-remembered movie, Africa Screams, before turning to television, where he was synonymous with some of the iconic shows from the fifties and sixties (including Hazel, Dennis the Menace, McHale's Navy, and Petticoat Junction) before ending his career topping them all with Family Affair. And where does this sordid little prison romance fit into all that? I'll let you figure it out, because I haven't. Stephen Danel (Peter Lorre) is an humanitarian, of sorts. He likes to hire people who are just being paroled from prison. What he never tells the prison officials is that he takes them back to the island where he lives, chains them up, and makes them slaves in his mines. His wife Lorraine (Rebel Without a Cause's Rochelle Hudson) is also there on the island, just as trapped as any of the prisoners, but she sees a possible way out when her husband brings back wrongly-convicted Mark Sheldon (The Man They Could Not Hang's Robert Wilcox), a guy who's got that kind of jaw that says "I'm not going to take any of this guff." Sure enough, as soon as Sheldon finds out what's really going on on this little island paradise, he starts trying to organize slaves and overseers alike into a mob to overthrow their tormentor, all the while passing love notes back and forth to Mrs. Danel through a house servant. It's shallow, it's unintentionally funny, it's ludicrous, and it's a great time. At only a little over an hour, it's not like you're putting a huge time investment into it, either. Lorre chews scenery with the best of them, Wilcox stands around and looks grim when he's not evangelizing, and Rochelle Hudson has a great look of trepidation. Which is good, since it's the only look she wears in about three-quarters of the scenes she's in. All well and good, and watchable to boot. If you want to do more thinking about it, mull over how the painfully obvious pro-union message would have been received ten or twelve years later. (I'm half-surprised Barton didn't get blackballed.) Otherwise, just sit back and turn your brain off. ***
Romain L (gb) wrote: "papa c comment le sexe d'une femme? je sais pas je les encule toutes!" quelle finesse dans les dialogues!!
P B (au) wrote: I wasn't too impressed. It was a little too slow paced.