At first, I strongly identified with Llewyn Davis' struggles — I think you'd be hard pressed to find a musician who doesn't — but by the film's end, I realize not only how many of those struggles are self-inflicted, I feel as if Llewyn is going to cycle through them many more times before things pick up or bottom out. Musically, Llewyn comes across as scrappy and soulful. He's just the person I'd want singing those sad, world-weary folk songs, at least compared to the cleaner- cut performers he meets throughout the film. And yet, that soul seems to come from tragedies (the suicide of his one-time musical partner) and anxieties (the relationships with family and former lovers) he's too stubborn or poor of spirit to work through properly. He keeps floating by thanks to some enablers. Couches are continually offered for him to sleep on, even after Llewyn insults their owners. A club owner still books him as a performer, even after he is forcibly removed from the club for heckling other performers. It's hard realizing you're in a vicious cycle while you're still inside of it, trying to keep your head above water. It's even harder when connecting with people is as difficult as it is for Llewyn. I feel like the Coen brothers understand that, take it seriously, and yet, from that, created something that made me laugh and engrossed me.

**_An unseen side of the Vietnam War_**
Airman Adrian Cronauer (Robin Williams) is a DJ in Saigon, 1965. While Cronauer is a hit with the troops he incurs the wrath of his superiors for what they consider irreverent and subversive tendencies. When he's off the air, Cronauer pursues a cute Vietnamese woman (Chintara Sukapatana) while befriending her brother (Tung Thanh Tran). Forest Whitaker plays Cronauer's friend at the station while J.T. Walsh and Bruno Kirby play his nemeses.
Based on the real-life story, "Good Morning, Vietnam" (1987) came out when Vietnam films were popular. While categorized as a war comedy, it's more of a war drama with amusing touches, mostly due to Williams' antics. It was a box office hit when released and hailed by critics. Roger Ebert, for instance, gave it a perfect rating. I didn't see it until a couple of nights ago, far removed from the hoopla of the period, and found it decent and somewhat amusing, but a tad overrated.
Nevertheless, there's an unexpected twist in the third act and the movie is a necessary companion-piece to movies like "Platoon" (1986) in that it provides the non-grunt, political side of the infamous conflict. For instance, the story takes place just _before_ the troop levels were beefed up to 385,000 in 1966, which would escalate to 536,000 by 1968.
The film runs 2 hours, 1 minute, and was shot in Thailand.
GRADE: B-

Good, if a little underwhelming.
Robin Williams (Adrian) is in strong form, while it's amusing to see a less experienced Forest Whitaker (Edward) in a rather dorky role. 'Good Morning, Vietnam' all makes for satisfactory viewing thanks to Mr. Williams' humour, even if I didn't have a great deal of interest in the plot et al.

Luckily, Luc Besson has just enough notoriety left over to stimulate a bit of interest in his films. Had that not remained the case, then this derivative effort would probably never have seen the light of day. It tells the tale of the young model "Anna" (Sasha Luss) who is recruited by "Tchenkov" (Luke Evans) and his boss "Olga" (Dame Helen Mirren) to work for the KGB. She has the looks, the beauty - and the ninja skills, and is soon proving very effective and attracting the attention of the CIA in the form of "Miller" (Cillian Murphy). Quickly she, he, and her Soviet mentor are all caught up in a rather predictable game of cat and mouse. This has got really nothing to help it to stand out or to redeem the repetitive nature of the story. Fight, escape, fight, escape... It's all so routine, and frankly dull. Evans and Dame Helen deliver accents that are as thick as last months Tiramisu and though she does enter into the spirit off her character, Luss just doesn't cut through at all as the ambidextrous and glamorous assassin. It's almost two hours of your life, so I'd think carefully about whether to not you might need to be doing the ironing instead?

**In a genre filled with solid spy action thrillers with small budgets, Anna disappoints even with a solid cast and experienced director.**
My hopes were high with the promise of a spy film with a John Wick-type female protagonist and a supporting cast with Luke Evans, Helen Mirren, and Cillian Murphy. But Anna doesn't even manage to entertain. The screen time is chewed up by developing her undercover identity, her various romances, hurts, betrayals, and very little subterfuge or action. Anna might have been released in theaters, but it was the quality of a direct-to-stream b-movie that had the dreams of a bigger budget film. I had expected more from Luc Beeson, the director of Leon, Nikita, and the Fifth Element. It's surprising with a director with successful films in the genre and an excellent supporting cast that, Anna ended up subpar and bland.

I'm a sucker for Luc Besson's films. Even when they're bad they're better than most of the action schlock churned out both by Hollywood and cash-grab direct-to-video indies.
There is a lot I could rip to shreds from the implausibility of pretty much everything that happens to the less-than-stellar acting at times... but that's not why one watches a Luc Besson film. It's a wild and fun ride that doesn't let up and has some truly inspired action set pieces, some campy humor, and hyper-stylized imagery that makes this a joy to watch.

If _Red Sparrow_ was the crap version of _Atomic Blonde_, when the Hell does that make the crap version of _Red Sparrow_?
...Fuckin' _Anna_ I guess.
_Final rating:★½: - Boring/disappointing. Avoid where possible._

Decent enough 1980s-era espionage action-thriller that pretty much combines Atomic Blonde, Red Sparrow and Besson's La Femme Nikita. Sasha Luss in the lead was quite good and the fight scenes were well choreographed. The story isn't special but twists were good and it did keep me entertained thanks to a nice supporting cast, especially Helen Mirren. **3.5/5**

**A boy from the east, a girl from the west and their life choice over romance.**
If you are a film fanatic or a film critic, then the year never comes to end without watching a film by Woody Allen. He's just a Takashi Miike of the Hollywood, but the thing is he always delivers. He had created his own style of screen presentation like in the line of Wes Anderson and very few others. Uniqueness define his works and so this another romance twisted tale where the first half of the film sets in Los Angeles and the next half in the New York.
A young Jewish American wants to try his luck in the Hollywood seeks help from his uncle who's a popular an busiest agent in the film industry. He falls in love with his uncle's personal assistant, but she reveals she already has a boyfriend who's away now. After some twists in the tale, it becomes a romance-triangle. Who gets who and how it all ends brings the curtain to the film.
Like usual Woody Allen's background narration had an important role in the storytelling and all those romance troubles were quite nicely told. It opened so well, developed at its best in the middle, but it did not end on a high. I did not like the conclusion, or the last 10-15 minutes. But thankfully it avoided giving out the usual stuff and the end credits rolled up before clearing the situation in the story. That's one of the way to finish it off, which is obviously not clever like lots of films does that same trick. Whatever, still the film is worth a watch, because of the decent story and great performances, and obviously for Woody Allen.
_6/10_

Having just watched this for the first time in 2018, I wonder if Arnold Schwarzenegger had intended for this to be a sort of retirement movie. It very much has that vibe, and would have worked spectacularly to that end in a fun, meta, kind of way. But for better (_Maggie_) or worse (_Terminator 3_) Arnie just keeps on sluggin' and that's the world we live in.
So instead of that, I guess _Last Action Hero_ is really just a deconstruction of the over the top action movies the 80s and early 90s did with such aplomb. Is it a scathing criticism of them, or a love letter to them? I don't know, but _Last Action Hero_ works for me, and that's all I'm taking away from it.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

I had a lot of fun with 'King Arthur'!
It has all of the ingredients of an entertaining film for me. I'm a sucker for a great score and this 2004 flick has just that, from the very first scene in fact - great way to open the movie! Absolutely no surprise whatsoever to see that Hans Zimmer was on music for this - legend!
There are also a number of actors that I like from other productions. Keira Knightley is the standout in my opinion, followed by Ioan Gruffudd - who has a great voice for narration, which kept bringing back fond memories of his showing as Henry Morgan in severely underrated television show 'Forever'. Those two I enjoyed most, though Ray Winstone, Stephen Dillane (if underused) and Stellan Skarsgård (if a tad underwhelming) are positives as well.
The one obvious omission from that previous paragraph is Clive Owen, who of course plays the titular character. I'm mixed on his performance. He nailed (most of) the speeches, though I wasn't convinced with his overall acting level. I feel like the filmmakers should've chosen someone more commanding to lead this, Owen is a little bit too meh in my eyes.
No idea, nor interest in truth, in how supposedly accurate this is in regards to folklore, but simply judging it as a film I can only say I got what I wanted from it - entertainment. 8/10.

Clive Owen is the eponymous leader of a cohort of the Sarmatian cavalry - on their last mission after a 15 year attachment to the now retreating Roman army. This mission requires them to head to the northern reaches of Britain - beyond Hadrian's wall - to rescue a family whose teenage son is a favoured godson of the Pope. The Saxons are menacingly poised above the wall, heading south and Merlin's Woads are all around, seemingly quite content to let the Romans and the Saxons sort it out between themselves and then take the prize from the weakened victors. This is an ok adventure yarn with a decent cast of British stalwarts - Ioan Gruffudd, Ray Winstone, Joel Edgerton and Hugh Dancy amongst his comrades, as well as Mads Mikkelsen and his hawk all trekking the country fighting as they go. The photography is good, and the battle scenes - especially on the frozen lake is also quite effective. Sadly, though the lead acting is really lacklustre. Clive Owen, Ray Winstone (with his baby's arm holding an apple) and Saxon chief Stellan Skarsgård are all really poor - with very little by way of decent dialogue to help them out either. Keira Knightley turns out to be quite proficient with an arrow but otherwise very little of this is on target. Despite a nice bit of singing from Lisa Gerrard, I cannot imagine this got a cinema release - but it just about kills an overlong two hours on the telly if it's wet outside.

I'll never forget the iced-held river scene. At least I've watched it ten times.Clive Owen and Keira Knightley are my favorites.

Do yourself a favour and grab the **extended **edition of this movie, It's like a whole new film and it is way way better.
_Final rating:★★★★ - Very strong appeal. A personal favourite._

Another hit season of Fargo, a shocking, mesmerizing and often funny series with top-tier acting and writing. Season 5 explores a new set of interesting characters. _The all star cast doesn't dissapoint and the twists and turns are sure to keep any viewer with a pulse engaged._ This is not to be missed.

**A film where love is unbelievable, the characters are unlikely, and the action scenes are brutal and quite intense.**
This is one of those films that you shouldn't watch with your family: it's full of violent scenes, foul dialogue full of profanity, several sex scenes, among other heavy features. The story isn't exactly nice either: during his birthday, a seemingly ordinary man meets a seductive woman and the two get very involved. We learn that she is a prostitute, and was hired to be with him that night. They decide to escape, but are forced to kill her pimp and take with them a suitcase full of pure cocaine.
For me, the film's biggest problem wasn't the violence (Tarantino uses it regularly and is considered brilliant), but rather the implausibility of the story: I wouldn't believe in love at first sight with a prostitute, I find the idea implausible, and the same can be said about the idea of a frail boy, with a perfectly ordinary life, becoming in a few hours a brutal murderer and potential drug dealer. These are things that don't fit, but that the film takes advantage of to create a kind of “Romeo and Juliet Bang Bang”.
There are several well-known names in the cast. For me, the best performance came from Gary Oldman, who is extraordinarily good in the role of a violent pimp. I wish that his participation was not so brief. Patricia Arquette is sexy when she's almost naked, and that was put to full use. As an actress, she did what she could, but she was given such bad material and such an unbelievable character that she couldn't do much. In turn, Christian Slater is not a good actor. At least, I think that he lost itself a lot after “Name of the Rose”. Here, he keeps the same persona he presented in “Heathers”, but without such an intelligent script to base it on. The actor did the job that was possible with bad material and a very bad character. Chris Walken is good in the role of the big villain: he knows how to be cold and appear threatening. Val Kilmer and Brad Pitt make brief appearances, but I doubt they want to remember this work, where they were very far from the shape we are used to.
Technically, the film stands out for the avalanche of good special effects it used in the action and shooting scenes, which are deeply crafted and stylized. Fans of action films will definitely enjoy this, and the climactic scene is worthy of an anthology. The rest ends up not really interesting and not having much relevance.

This is a sort of pre-Tarantino Tarantino movie. The story I read is that he rewrote a script for a co-worker, and he didn’t end up directing it, so it is both his and not completely his work. But it is a violent quirky films like many of his other ones. I had to smile when i read the brief summary of the plot on this site. Rarely does a movie blurb capture the essence of a movie this well: “Clarence marries hooker Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood, while the owners of the coke try to reclaim it.”
The dialogue rings true and there is a chemistry between the romantic leads. It is star studded also, though the actors play secondary roles to make for quite a talented group of character actors/actresses. I highly recommend it.
Oh, and there is one other aspect of the movie that intrigued me and contributed to how much I like it. I haven’t seen it mentioned in other reviews here or elsewhere, and that is the soundtrack. It was composed by Hans Zimmer, who is widely recognized as one of the best movie composers. If you have seen the movie “Badlands” with Martin Sheen and Cissy Spacek, you will hear a startling resemblance (almost identically so) between the opening themes of the two movie.
The music for Badlands, also a road movie featuring a killer and his girlfriend, was written by Carl Orff, taken from a study piece he apparently wrote for other composers and performers to use as a learning or development piece. I only know this because back then in pre-Google times I searched for weeks tracking down where the music came from, as Badlands did not release a soundtrack album. You can also notice the voiceover ending for both movies, recited by the girlfriends, are also very similar. I assume this is done as a tribute to the earlier film.

***A stepping stone to “Pulp Fiction”***
A lonesome comic store geek in Detroit (Christian Slater) meets the woman of his dreams (Patricia Arquette) and suddenly has the gonads to be a bad dude. But the mob tracks the couple down in Los Angeles with all guns blazing. The peripheral cast includes the likes of Gary Oldman, Dennis Hopper, Christopher Walken, Samuel L. Jackson, Val Kilmer, Brad Pitt, Bronson Pinchotand and Saul Rubinek.
"True Romance" (1993) is a crime drama/thriller/romance and black comedy directed by Tony Scott (younger brother of Ridley) and written by Quentin Tarantino. The latter sold the script to fund his first movie “Reservoir Dogs” (1992). It contains the ultra-violence/gore that Tarantino is known for, along with his satirical, comic book style that makes it more amusing than shocking.
While the all-star cast is incredible and there are several great scenes, something keeps “True Romance” from the top tier of “Pulp Fiction” (1994) and “Jackie Brown” (1997). I suppose it doesn’t help that the protagonist’s sudden transformation isn’t convincing, not to mention that what he does is unnecessary and perilous (i.e. stupid), which turns him into a bit of a creepy nutzoid. But that’s just me.
Imagine being blown away by the greatest album by a band and then purchasing their previous album, which is good, but not in the same league. You like it, but you’re also a little letdown. That’s how “True Romance” comes across after viewing “Pulp Fiction.” Nevertheless, it’s still worthwhile if you don’t mind this genre.
The script was originally written in a nonlinear structure, which Tarantino is known for, but Tony Scott changed the story to chronological, as well as altered the ending, which made for a morally confused message. Quentin’s original version would’ve worked better, preferably directed by him.
The film runs 1 hour, 59 minutes, and was shot in Detroit and the Los Angeles area.
GRADE: B-

For the amount of Grade A and High B actors in the movie, along with the top o' the line writing cast, producers and director, you would think this would be nothing less than a 5-Star film. Unfortunately, the movie just never gathers any traction and seems to be nothing more than a collection of cameos without any cohesiveness, even with the story running in the background. Not a terrible flick, just a disappointing one.

Can't believe I haven't seen this movie until now. My neighbor could not believe I never saw this movie, and suggested I watch it A.S.A.P.! I did and loved it! This is a _**must see**_ Star-Studded movie. One of Quentin Tarantino best works.

The King, Chiba, White Boy Day and Love…Bloody Love.
True Romance is directed by Tony Scott and written by Quentin Tarantino. It stars Christian Slater, Patricia Arquette, Dennis Hopper, Brad Pitt, Val Kilmer, Gary Oldman, Michael Rapaport, Christopher Walken, James Gandolfini, Chris Penn, Tom Sizemore, Bronson Pinchot and Saul Rubinek. Music is by Hans Zimmer and cinematography by Jeffery L. Kimball.
Comic book store clerk Clarence Worley (Slater) falls in love with call girl Alabama Whitman (Arquette) when she turns up at the movie theatre as one of his birthday presents. Marriage is quick but as the whirlwind romance gathers apace, complications quickly follow in the form of psycho drug dealers and the mob!
It's still speculated on how True Romance would have panned out had Tarantino directed his own screenplay, but really in the grand scheme of things it doesn't matter. For True Romance is a wildly exciting fusion of lovers on the lam premise with violence a go go thrills.
Director Scott did a bang up job bringing Tarantino's screenplay to life, even making a couple of narrative changes that suits (QT agrees) the picture no end. People often get hung up on the fact that Scott had previously helmed Top Gun, Beverly hills Cop II and Days of Thunder, citing these as reasons that Scott was wrong for the material, yet the film he did immediately before True Romance was The Last Boy Scout, a thrilling and muscular actioner that pings with sharp savvy dialogue scripted by Shane Black. It was the perfect trial run for True Romance, and Scott proved to be a wise and cohesive choice for the material. He also expertly marshalled a large ensemble cast, garnering career high turns from Slater and Arquette in the process.
Almost everything clicks into place on True Romance, it never lacks for kinetic thrills or edge of the seat drama. In turn it likes to grab you around the throat with some wince inducing violence, cunningly drawing you in to root for a couple of lovers who will do anything for each other, while simultaneously causing carnage for all they come into contact with. There's odd ball characters galore (Oldman and Pitt excelling in this area), exquisite set-pieces and dialogue so sharp you could cut a steak with it. From conversations between Clarence and his imaginary Elvis (Kilmer) mentor, to iconography unbound with one of the 90s great sequences that sees Walken's mob boss verbally joust with Hopper as Clarence's stoic father, it's a film as rich in the art of vocal acting as it is in eye splintering gloss. All that and it's a clinically beautiful love story as well!
A wet dream fantasy of QT for sure, and if you wanna be churlish? Then there should have been more room made for Sizemore and Penn's glorious coppers. Hell we could even complain about the editing being a touch too slam-bang at times…But nah! Small complaints be damned, the meeting of Tarantino the writer and Scott the director delivers neo-noir goodies galore. In fact it's a film that just gets better with age. 9/10

Desparate to become a music journalist, "William" (Patrick Fugit) is offered the chance to write by local critic "Bangs" (Philip Seymour Hoffman) and that sees him at the stage door trying to blag his way in. Luckily for him, he befriends "Penny Lane" (Kate Hudson) and support act "Stillwater" and is soon inside, immersed in a world that plays out for us over the next two hours. He's a young and impressionable lad who's taken under the wing of the band's "Russell" (Bill Crudup) who keeps promising him an exclusive interview for "Rolling Stone", but that means he has to travel with the band across the USA whilst mother "Elaine" (Frances McDormand) panics a little at home. The lad is only 15! It's through his eyes that we get a glimpse of how the itinerant music industry might work. Coaches, planes, hotels, drugs, booze, hookers - it's real yet it isn't. They live out of suitcases with the promise of fame and fortune always just around the (next) corner. Maybe a new manager will change all that, maybe they don't really want to change at all? Fugit delivers well as the conduit for the story and as he experiences more he becomes less gullible and star-struck. He begins to see things for what they really are - and so do we. A fly on the wall rockumentary that is occasionally funny because that's how they lived, loved and performed and though I didn't really like the ending so much, it's still a powerfully poignant look at backstage behaviour amongst some of the most selfish and introspective who have lost sight of why they bothered in the first place. Any of them. Big screen is best, not least because the audio for the great 1970s soundtrack is worth hearing too.

It was a tough day, but after watching the movie, it was exhilarating. It's fun when looking at the surrounding atmosphere of the movie. I felt like I was inside this world full of adventures.

You see a lot of people here calling this one of their favorite movies. It's certainly one of mine. But, twenty years after I've found myself wondering if it's the movie that I like or if it's the music.
I mean, it references Lester bangs, and he is played by Hoffman. And it is a Crowe film. But it's about Rolling Stone when Rolling Stone was important and not the hallow shadow of it's former self.
And with that tale about Rolling Stone's former glory it tells the story about Rock and Roll before it caved into New Wave, Disco, and was finally washed away with the auto-tune and drum machine bubblegum pop that needs a mass burning in Soldier Field in the near future.
But look at the sound track, Simon and Garfunkle, The Who, Iggy Pop, Black Sabbath, Rod Stewart, The Allman Brothers, The Seeds, Fleetwood Mac, everyone's favorite Led Zeppelin, Deep Purple, Lynyrd Skynyrd, Cat Stevens, and my favorite Elton John song.
And those are just the highlights. But, that is a playlist, that is an record collection. Most everyone has an album by one of those bands.
And, of course, Still Water is a place savor for the Allman Brothers and in some cases it's so obvious it hurts.
So, is it one of my favorite films? Twenty years on do I really love this film or do I love the soundtrack? Do I love the era it portrays when Rock was still relevant and the Rolling Stone still meant something?
Honestly I don't know... because, at the end of the day, I do really love this movie. I mean, Frances McDormand is in it... but honestly, I think I just love the music a little more.
Fortunately, I am Gen-X, I grew up with Pearl Jam and Nirvana and Green Day. I grew up with grunge and punk and I thank God every day that I turn on the radio that I had worthy bands to follow and record stores were still a part of my life.
I'd hate to be my wife's age. I'd hate to be a Millennial. I'd hate to be Gen-Z... but a big part of me would have loved to be a Boomer, would have loved to be my father's age, even with all the problems, just because they got experience all that music when it was still new, still fresh, and the musicians were still in their prime and preforming at the top of their games.
So, yeah, I love the movie but I like the music a heck of a lot more.

_**Misadventures while touring America with an up-and-coming band in the early 70s**_
A 15 year-old aspiring rock journalist (Patrick Fugit) gets a gig by Rolling Stone to tour America with the rising group Stillwater in 1973. He develops a relationship with a winsome groupie of the band (Kate Hudson) while learning the group dynamics behind the music, such as the rivalry between the guitarist and lead singer (Billy Crudup and Jason Lee).
"Almost Famous" (2000) was written/directed by Cameron Crowe, known for movies like “Jerry McGuire” (1996) and “Say Anything” (1989). It’s a behind-the-scenes rock-oriented flick in the mold of “The Rose” (1979), “Oh, God! You Devil” (1984), “Rock Star” (2001) and “The Perfect Age of Rock ‘n’ Roll” (2009).
The story is semi-biographical, inspired by Crowe’s experiences writing for Rolling Stone at 15 and touring with the Allman Brothers at 16. The amusing plane sequence was drawn from a real-life situation with The Who; and the guitarist of the band, Russell, is based on Glenn Frey of Eagles.
I had heard the critical gushing, but wasn’t sure if I was going to like it for much of the first half, yet it won me over with the second half. The aforementioned plane sequence is a highlight. For a more serious, darker take on similar material see the obscure “The Perfect Age of Rock ‘n’ Roll,” which I favor over this one.
The notable cast also includes Frances McDormand as the boy’s conservative mother, Zooey Deschanel as his sis and Philip Seymour Hoffman as a wise rock journalist. Fairuza Balk, Anna Paquin and Bijou Phillips are also on hand as groupies. While Anna’s role is small, she stands out on the feminine front, along with star Kate.
The movie runs 2 hours, 2 minutes, and was shot in California, Arizona and Manhattan (Gramercy Park Hotel and Central Park).
GRADE: B

With the new 4K release, decided to watch the Director's Cut (Untitled) version for the first time having seen the theatrical version a couple of times over the years (last time was several years ago, however). Anyway, still a great movie even for someone who isn't exactly steeped into rock and roll music. Features a wonderful ensemble cast with solid performances all around (Hudson and Crudup were standouts) and the original music, alongside the classics, were great. **4.5/5**

Hopes, Dreams & Nightmares.
Almost Famous is Cameron Crowe's paean to rock music, of bands and songs, of journalism and promotion, of sex & drugs. Drawing from experience and stories passed on, Crowe tells the tale of a young teenage boy aspiring to be a music journalist in the 1970s. Finding himself backstage with the rock group Stillwater, William Miller (Patrick Fugit) embarks on a road journey with the band that's awash with egos, groupies, perils and pleasures, all of which change his life forever.
Lets go find something real!
The most striking thing about it is that it's not overtly funny or sensationalistic, it's a production that's full of love, real love, for the subject matters to hand, and it's very often a moving experience to be part of. Narratively speaking, Crowe takes his time, steadily building characters and backdrop essentials, it works a treat as we become immersed in all the major players within the music circle, while also feeling the concerns of those on the outside of the rock group circle. Which of course gives us the great rewards come the final third of film when all matters come to a head. Crowe and his design team also work some magic for period flavours, capturing the early 70s vibe with awareness of clothing, food and drink and transport. Nothing ever seems false, which is remarkable in this era of product placements and shameless plugging.
50 bucks and a case of beer!
Another one of Crowe's strengths is how he garners great performances from his actors. There's no big stars here, no Tom or Renée, but Billy Crudup, Jason Lee, Kate Hudson and Fugit, who respond to their director with sincere and believable performances, no caricatures or ham sarnies here, no way. While outskirt performances from Frances McDormand (brilliant as William's fretful mother), Anna Paquin, Philip Seymour Hoffman (as the legendary Lester Bangs) and Fairuza Balk, consistently hit the hi-hat. The music of course rocks, from metal and progers, to folkers and bubblegum, to some punk godfathery, these sounds feature on the soundtrack and kick the decade into orbit - while the Stillwater scenes are effective and the use of Elton John's Tiny Dancer will land in your heart and stay there.
Cameron Crowe has created a smashingly memorable film that will stand the tests of time. Two cuts are available, where both the theatrical and director's cuts are sure fire things (the latter Bootleg Cut my personal favourite). This is a music based film to sit with the best of them, God Bless Rock N Roll and God Bless Cameron Crowe, for he could have easily embellished and over egged his rock pudding, instead he kept it real. 9/10

Pretty funny movie. Two of the most funniest people around. The movie was just your average type comedy movie but worth to see it at least once.

> An old concept with a new pair.
First of all I don't wanna compare it with any movie like the others did. Many reviews bashing that it was rip-off of 'Big Stan'. Yes kind of similar theme, but there's a lot of difference. The concept was the same and the story happens in an alternate way like 'what if'. That means one takes place outside the prison and the other one in the prison. If you're a movie fanatic, you would enjoy the show other than going after flaws and resemblance.
I had seen many weird combos, and I felt same feeling for this Will Ferrell and Kevin Hart, when I first heard about it. Like usual, once I watched the movie seem to be okay. Quite a show and equally good, one of the funniest combinations to entertain. I had a few good laughs and enjoyed the film. I would love to get a sequel for this, because these men coming together are double fun. So it should not be wasted ending with a one-off movie, but at least a duology or maybe a trilogy. Gosh, my crazy thought and expectation!
6.5/10

An alcoholic man lives in a perpetual stupor while his six children cope as best they can.
Creators: John Wells, Paul Abbott
Stars: Emmy Rossum, William H. Macy, Ethan Cutkosky and others.
My personal opinion:
I liked this show so much. I liked that all the truth and the situations that can be met in the real life were shown as realistic as possible.
Even if there were a lot of negative reviews on the internet, I truly think that this show is a very good one.
It has 8 seasons, the ninth will be ready in September.
But even if there are 8 seasons, I wasn't bored at all.
Recommend it )