Shlomo who discovers in his son's Assaf room, women's clothing and accessories, decides to 'teach the boy a lesson'. When Assaf returns to his parents' home on a rainy night from a party, his attempts to enter home fail. His father, with the silent consent of his mother, locked the door. At present, 4 years later, Gallia turns to an investigation agency to help her find her son Assaf and bring him to Shlomo, his father who is dying of cancer. One night, at a night club in Tel Aviv, Assaf is seen performing as a beautiful transgender lady singer who goes by the name of Anna. After a few days a private nurse turns up at Shlomo's room at the hospital, sent as she claims by the insurance agency to assist Shlomo. The nurse is Anna (his son Assaf) and she manages to conquer Shlomo's heart by her charming personality and her special attitude toward life.
Shlomo who discovers in his son's Assaf room, women's clothing and accessories, decides to 'teach the boy a lesson'. When Assaf returns to his parents' home on a rainy night from a party, ... . You can read more in Google, Youtube, Wiki
Andrew N (es) wrote: Serves up a few creepy moments but overall, this sequel is a pretty boring and confusing mess.
Louay J (fr) wrote: Another outstanding Iranian film full of stark reality and symbolism, and compelling three-dimensional characters.
MATTHEW E (us) wrote: A fascinating look at what it was like to immigrate to the U.S. through Ellis Island told with exquisite cinematography.
Katie M (nl) wrote: I'm rather disappointed in the professional reviewers who panned the movie for being "schmaltzy" (the audience reviewers, not so much). If you don't like movies about relationships that are meant to be cathartic and bring out feelings of loneliness, grief, and an intense desire to catch up with your siblings... great. You're probably in the majority, actually. But professional reviewers are supposed to look past that, and answer the question: is this movie good at evoking the thoughts/feelings that it was trying to evoke? And the answer to that question, in this case, is a resounding, "Yes!"It could have gone for "Love Story"-level schmaltz. But instead, it told a complex story with relateable characters and a wide variety of relationship things going on (the relationship between the sisters, between the older sister and her friend, between each sister and their grandmother, between each sister and their father, between the grandmother and her friends, between the younger sister and the blind professor, etc.) In the story, they all grew, as expected, but in an organic way. Even the camera work and the sets were deliberately thought out to evoke the necessary emotions. The loneliness and insecurities of the characters bled through the screen. I cried. A lot.Which was the movie's goal, and it accomplished it very well, through good writing, well-written characters, and good direction.A movie that evokes the thoughts and feelings that it wants to evoke, and does it well and deliberately, is a good movie, pretty much by definition. Now, whether what that movie is trying to accomplish is something you want to experience, is up to you... but whether that's the case or not, doesn't negate it being a good movie.
Adam M (it) wrote: Hypermedia spy story -- "What is real in the world? What/who can I trust?" -- is actually a thin veil for a doomed romance story: "Is my love real or an illusion? And BTW, could virtue, mine or maybe hers, have saved me from illusion?"Unlike Alphaville, I never get the flickering sense that this world, jerryrigging pieces of the present to represent the future, is a real place. Instead, this move plays like vignettes in an off-Broadway play about the future, with monitors showing tinted surveillance footage next to the stage.Walken creates a real, whole character out of verbal pirouettes around cliches; Dafoe is more than believable in the mute, physical acting required by a sustained flashback montage; and Argento is more of an underwritten cipher than she is mysterious. Her part in the con, as a surefire seductress, we have to take on faith. With the elliptical editing and blacked-out backgrounds, they could stuff anything in the plot, but they don't. The fact that the movie stays together, as does Walken and Dafoe's goldminers' pact, keeps things intriguing enough. We want to know exactly how everybody is going to commit suicide by Fate.
Kyle K (ag) wrote: bill hinzman is the man, such a nice guy not to mention that he is the original zombie, could have been way gorier but then agin it was late 1980's american horror and that hadnt evolved so well at that point but i believe pracitcal effects are best in comparison even though somethings are meant to be created on a computer
Rowena K (us) wrote: A really solid TV movie with some great performances. Davies IS Manson!
Ben C (br) wrote: While known to be dramatic and extreme for all the wrong reasons, Blow is a well-acted and somewhat reasonably-accurate film about the drug-trafficker George Jung, played well by Johnny Depp. It is well-written by the team of Nick Cassavetes and David McKenna, directed impressively by the late Ted Demme, and features good performances put in by Ray Liotta, Penelope Cruz and 'Pee-Wee Herman' Paul Reubens to name a few. It is one of the films that you must see; hard to watch, yet a well-executed film for all the right reasons.