Wayland returns home after being badly injured in the war in Afghanistan, the legacy of his injuries are epileptic seizures. To compound his sense of isolation his daughter has vanished without a trace. He is determined to find her. His investigation uncovers a dark, sinister world where nothing is quite what it seems. His quest becomes not only about finding her but also about discovering who and what he has become. Wayland is looking for something he left behind in the killing fields of Helmand Provence, his humanity and his soul. Waylands Song is an adaptation of the classic Northern European parable. Wayland is crippled by his masters so he can never take flight and escape for which he takes a bloody and violent revenge.
Wayland returns home after being in the war in Afghanistan. He returns home not only injured and suffering seizures but also to find the family he left behind has disintegrated in his ... . You can read more in Google, Youtube, Wiki
Valerio R (nl) wrote: Il tema portante e bizzarro del film (il ritorno alla prova di maturita') in verita' non si dimostra altro che un pretesto per mettere in scena un quadro di una generazione. Ne esce fuori un prodotto godibile, divertente, con quella giusta dose di romanticismo ingenuo, sicuramente ben recitato (memorabile Ricky Menphis). Colpisce l'ottima scelta delle musiche. Non si grida al capolavoro, ma questa e' certamente una commedia da punto di riferimento per tutti i quarantenni!
Ronnie S (de) wrote: ?hm javel s ... En utroligt forvirrende film, hvor jeg sad tilbage med flelsen af at .. "hvad fanden gik det her egentlig ud p ?" lol. ? lige min kop the lol
Pavandeep S (ca) wrote: My first Tarr. Though I have his other films, I have yet to go about watching them. I must say, he has an interesting way of using his long takes that is generic but yet theatrically inspired in its grace and very cinematic in its dimensions. It is so wonderful how he takes everything and makes it a thrill to explore. This was really one of the more distinctive noirs you will see, where tension is given way for the corruption of man and their utter hypocrisy in their values and ethics. The entire film came as a shock to me and really took some time getting used to.
Quiche E (fr) wrote: Un des pires films que j'ai vu.
jim d (ru) wrote: I wouldn't exactly consider this a shining moment for Judy Davis. It's a great cast...with Marcia Gay Harden as a transgendered individual even. Bet you never thought you'd get the chance to see her peeing while standing, eh? But, it's merely an 'ok' film. Nothing to rush out and grab but better than getting up off the couch and cleaning the bathroom if you happen upon it.
Christopher B (ag) wrote: Two giants, one film and a solid structure all the way through with tension and twists. The look, the sound and the acting carry this better than expected film, these days its hard to make a seriously bad submarine film
Anthony F (es) wrote: This film was so bad that it gets nought. Don't waste your money, or if its free, don't waste your time.
Brett H (de) wrote: Unfortunately the film is probably the worst film ever put together! The acting is pants, the script is worse, but, its just as I remembered it from when I was about 6 years old!!! I loved it back then, thats the reason for the 3 stars!
Tanya K (au) wrote: In fairy tales, gallant princes on white stallions sweep beautiful princesses off their feet. In Cassavetes' Minnie and Moskowitz the prince is a borderline bum of a guy with a beat up truck who parks cars for a living (valet sounds too upscale), and the princess is an outwardly cynical but inwardly love-lorn romantic who is a museum curator. 'Movies set you up,' cries Minnie, 'there aren't any Clark Gables in the real world.' It may not seem it, but this film is a testament to love prevailing over all; there's no logical hope or reason for Seymour and Minnie to fall in love, but they do. Why, nobody knows, not even them ('It's not the face I dreamed of, Seymour.'), and such is the glory of love. The editing is exceptionally choppy and feels jarring until you get used to it - just like Minnie and Seymour's blossoming relationship. Reminiscent of the feisty Hepburn-Tracy screwballs, this film is quirky and cringingly funny, but not in the usual sense of the word (case and point: Minnie's car wreck of a lunch date with Zelmo). Seymour is abrupt, crude with the most impressive thing about him being his mustache, 'He's no Einstein,' proclaims his own mother. Yet he's a forcefully hopeless romantic, albeit 1970's style, and that's exactly what Minnie needs.
Kevin M W (gb) wrote: Although this stars Peter Sellers and Ringo Starr it doesn't actually matter, as the two are only used as pop canvases to convey the message, one of the dominant themes of the 60's era, of youthful discontent with a world obsessed with money. Typical of the times as well is that there are no alternatives suggested either, simply the equivalent of an internet troll calling you "stupid!" and assuming a stance of superiority for having said that. All of this would be alright, mind you, if only the thing was funny, but its not. Sellers tries to inject some levity with the adoption of several different personas but the point is moot in the midst of this shitstorm of superior posturing. Starr replays his "lost boy" act from "Hard Day's Night" but has no where to go with it, nowhere at all. There are brief moments that contain a smile, but that's all you're gonna get out of this one. If there is any reason to see this at all, its for its look at the mood of the times.
Carlos R (ca) wrote: Good action scenes and some good dialogues, but it's boring in part and not very easy to follow.
Daniele C (gb) wrote: So fresh and still so old-school, so cool and still so classic, so modern and still so... Bond.
mark d (au) wrote: nominated for three awards-Best Actor, Best Screenplay, and Best Supporting Actress-at the 2012 British Independent Film Awards