A motley of vacationers on a bus headed for a week long vacation at a seaside resort. Among them: a single, moderately famous singer; a nerdy, onanistic man; a couple of old ladies reaching senility; a couple of young gals looking for an amorous adventure; a family with a boy unsure about where he fits sexually; a beautiful woman that, besides working as a trip guide, has pretensions of being a music composer; a couple of gay men; and another family where the parents are stuck in a sexual ice age while their twentyish daughter is looking to connect with a man. . You can read more in Google, Youtube, Wiki
Comedy based on the novel and screenplay of the most popular contemporary Czech writer Michal Viewegh builds on the success of novels for women, who became the most successful film of last ...
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Amanda E (us) wrote: I would see this movie again maybe not in theaters, but I would. It was not bad for the length because it kept me entertained the whole time. I liked the story and the way that they used the flashback more as the main focus then just a bunch of flashbacks. With the music some people could think it was a little over the top, but I actually really liked the music. I felt like sometimes it was a little weird because in most musicals it is in reality and in this sometimes it was all in fantasy. The one thing that did kind of bother me was when they were singing the subtitles seemed to disappear, so I didn't know what they were saying some of it was in English but not all of it. It had a good love story to it. Two guys going after the same girl. I liked that competiveness and they brought that into the other story being student of the year. Overall I really liked it because it was a romantic/comedy that was a musical as well. This is not really my type of movie, but I still really enjoyed it and people should definitely see it.
Amir M (nl) wrote: Funny, mysterious, and haunting.
Kerry M (jp) wrote: I thought this film was great! Yes, there are weaknesses, but nothing that destroys what the director was trying to put across, and therefore can be overlooked. Gael Garcia Bernal was fantastic, and Natalia Verbeke also gives a very good performance.
Paul D (ca) wrote: John Carpenter has his name on this, but it's nothing like some of the cult classics he directed last century. This one is low-budget and is an example of 'you get what you pay for'.
Orla H (mx) wrote: I love this film, first saw it at a midnight screening and have watched it countless times since. The ending is truly horrifying, the script is offbeat and funny and everyone gives their best to their performances. It's quotable, it looks gorgeous and the music is perfect. Can't hear Portishead without seeing images from this.
Camille L (mx) wrote: On sait tous que John Carpenter a du talent et que son duo avec Kurt Russell a produit ce qui se fait peut-tre de mieux en science-fiction (Escape from L.A., The Thing...). Mais ici, sur Starman, leur 3e collaboration, la magie ne prend pas trop et le film se trouve tre particulirement ennuyeux. Contant l'histoire d'un extraterrestre qui prend la forme du mari rcemment dcd de Karen Allen, toujours trs bonne, Starman se transforme en road romance et perd totalement de son intrt quand les rebondissements sont tlphons et particulirement ennuyeux. C'est dommage car le casting est excellent, la ralisation de John Carpenter permet aux moments les plus tartes de s'en sortir quand mme et la musique de Jack Nitzsche est inoubliable.
Kenneth L (ag) wrote: Odd little movie, the first in a long career by Wayne Wang. Starts off as a noir-inflected mystery, but quickly turns into more of a fictionalized documentary about the lives of Chinese immigrants and their American-born children in San Francisco's Chinatown in 1982. A bit slow, but unique and interesting in a sociological sort of way.
Giulia C (jp) wrote: grotteco, ironico, a tratti geniale nell'affrontare tematiche politiche si mantiene per a un livello molto superficiale. l'ultima interpretazione di Vittorio De Sica.
Dave R (ca) wrote: Interesting exploration of societal fear in everyday life. Proves how many great films Kurosawa made over his lifetime.
Paul Z (it) wrote: This Clifford Odets story, which is structured into two almost equivalent parts, each almost a complete drama on its own, is about a sour love triangle that is comprised of cynical characters, all of whom are comfortless and searching for love. This piece was initially produced as a neo-realist Broadway play a decade before, with Tallulah Bankhead in the Stanwyck role. Fritz Lang changed the physical setting from Staten Island to a fishing village in California, but maintained the burdensome shoreline climate.Stanwyck has become misanthropic, sick of fleeing difficulties, tied to apron strings. She meets an altruistic widowed fisherman she knew from the past, played by Paul Douglas, whom she doesn't love. But when he falls for her cultivated mannerisms and good looks, they marry against her better judgment. She thinks this marriage will give her an anchored life, one in which she can feel certain. The emotional house of cards begins to tremble when Douglas pushes his close friend on her, an acerbic and vulgar movie projectionist played by Robert Ryan, making them become friends. The only thing that makes her happy with the marriage, is that she has a baby. Soon, all the suppressed emotions of the three will arise, as each will struggle to fight for what is theirs.The performances are melodramatic due to the theatrical source material, yet gripping with burning agitation, especially Douglas as the classic Fritz Lang male who can't stand the idea of hurting anybody but can't stand the idea of some people not being hurt. Most of the cast, mainly the principals, are able to emphasize the entanglements influencing each of their characters as they begin to fight one another tooth and nail, hoping not to die of heartache or pessimism. Everything about these characters and their estrangement feels organic, familiarized by Lang's showing them at work, never cutting them off from all the other drudgeries they undergo. Lang's thrust is how effortless it is not to see the foibles in oneself, as effortless as it is to see them in someone else. Clash By Night, a melodrama that borrows more from film noir than it becomes one, sharply denotes how some forlorn everymen break out from their indistinct reality, as if that cloudiness were a confinement where endurance at any sacrifice is the bottom line.
Keegan K (ag) wrote: I remember seeing this as a kid, the cover, and I knew I could not watch it! Finally seeing it now. That was crazy. But really good! Really hit home too. So the main couple are not happy with their marriage and they have not been physical in years. The husband is tired of his job and is having a midlife crisis. His wife is a perfectionist and materialistic and she's not happy with the marriage and has an affair. Their daughter has no self-esteem and she's not happy with her parents. Wife has an affair, and the husband falls in love with his daughter's best friend. All kinds of crazy. Really good though and really deep. They talk a lot about putting on a show as if you're leading a happy life or a happy marriage when really, at the core, it's crumbling. What are you going to do to fix it?
JohnnyLee T (mx) wrote: Potentially a great movie but lacks cohesion and real feelings. Was intrigued where story would lead but characterisation was confusing. Didn't finish.