Kimjho Gwang-soo is one of the most recognized Korean gay activist as well as a filmmaker. This is his feature debut as a director and producer. A queer movie that delivers the goods—humorous and touching—and fulfills the director’s wish for a more “open” society. A story of two people that masquerade as a couple to hide their homosexuality and keep their real loves intact. Minsoo, who is gay and wants to escape from his meddling parents, and Hyojin, who is a lesbian and wants to adopt a baby, are both doctors working at the same hospital. To fulfill their wishes, they decide to fake their nuptials. Their marriage is surrounded by episodes, some are humorous and others full of pathos. Unlike other films dealing with similar subject matter, focusing on the darker side of the spectrum, the director’s choice to keep things lighter and brighter is also a virtue.
To keep their sexual orientation a secret, a gay man and a lesbian woman gets married. Now they have to juggle their identities to fool parents and co-workers, all while trying to find real love. . You can read more in Google, Youtube, Wiki
Tobias L (de) wrote: i expected nothing from this and still walked away feeling robbed...bad acting from those who should know better and worse acting from those who shouldn't have started in the first place.....FUCK THIS MOVIE.
Rodney D (br) wrote: one of my FAVORITE movies...shows you critics don't know what they are talking about...or paid to not know
David L (mx) wrote: The 90's had some good slasher movies... I'll check this one out.
Nadenka L (mx) wrote: Excelente pelcula.
Angela R (it) wrote: I have seen this movie several times. Saw it the first time as a little girl, and just loved it. Watched it today, and I STILL love this movie. It has all the best parts of a love story. forbidden love, young love, and first love. AWESOME!!!
Shannon T (kr) wrote: really cute. love gene and gilda together!!!
Patrick H (au) wrote: Best film I've seen in years.
Alex S (br) wrote: Awesome action comedy from the 70s, the first buddy cop film before the likes of Lethal Weapon and Rush Hour came along. Definitely one of the best of it's kind.
Lynda M (nl) wrote: Perhaps a tad over dramatic yet maybe that was deliberate to be noticed, to shock the viewers as much the male part of society. Made in mid 60's so I can understand why it was controversial at the time. Worth a look, yet not everyone's cup of tea.
Christopher H (kr) wrote: The acting seems relatively wooden, but the detective/horror aspects of the story are certainly entertaining. One of the better Hellraiser sequels.
Harvey L (us) wrote: Magnolia is a film that will explicitly transcend the typical plot of a movie-for better or for worse. Following a cast of characters for a single day in Los Angeles, their lives intersect and crash into each other. As pressures of the day cause them to irrevocably change their lives, they all must face the consequences down the road and meet their new realities. While no singular conflict exists, there are numerous parallels between the stories that unfold onscreen, among which, most notably, is a broken parent-child relationship: Tom Cruise plays a misogynistic strong man who gives testosterone filled speeches for men on how to seduce women, and it all becomes too clear his actions stem from the absence of his now dying father (Jason Robards). That father has a all-too-helpful nurse (Philip Seymour Hoffman) and a now regretful trophy wife (Juliane Moore). On a seemingly unrelated story, John C. Reiley is a by-the-rules, bumbling cop who falls for Claudia (Melora Walters), who has her own drug and attachment issues from a less than perfect father (Philip Baker Hall). That father hosts a game show with children whose current star (Jerry Blackman) is facing abuse by his own father. Meanwhile, a past child star (William H. Macy) now has financial issues from his parents squandering his winnings and must face his own emotional troubles. In what plays like a sophisticated Lifetime drama, these characters come to face their pasts and hope for a brighter future. However, with a confusing yet no less inspired ending, director Paul Thomas Anderson leaves the film as a question as to what is truly possible in connections and in relationships. Throughout the film, there are anecdotes about incredible coincidences and discussions about the fundamentals of movie plotpoints. Anderson leaves us wondering whether these resolved endings are truly possible in life. While it could be seen as a commentary on the ridiculousness of how some movies end, I have no doubt it is an inspiring message that allows people to try to achieve those happy endings that sometimes seemed to be trapped in the films we love to watch. Magnolia is a very competent film: using songs by Aimee Mann, the film never falters from the bittersweet tone that encompasses life. Anderson utilizes the camera to never leave a dull moment, but by far, these actors' performances stand out above all. In what can only be described as Williams-esque, each actor gives a fully flushed out emotional journey that leaves not one person questioning the authenticity of each particular feeling. Tom Cruise particularly stands out, with a complexity and development that could surmount to the best of his career. All in all, Magnolia can hold its own. Although dragging its feet at times with filler, the entire experience is an enjoyable one; it's a film that will keep the characters in your heart, and its blatant, but no less timeless lessons in your life.