Trilogies are very interesting. Some go out with a bang (Lord of the Rings), some get progressively weaker (The Matrix), some get lost in obscurity (Blade, Back to the Future), but some maintain the genius, that seemingly ever-growing bright light that floats beyond the surface of its flawless exterior. Case and point: "Three Colors Trilogy". This chapter in the trilogy, being the last one, is the most philosophical and thought-provoking. In "Blue" we had a more visually stunning, more character-driven plot, in "White" it was more of a light hearted, narrative-driven story where we listen more to what the characters say than anything. "Red", however is focused on the "what ifs" and "how comes". It questions our own fate and focuses mainly on the past and the future than the present.

This chapter is about a young model who runs over a dog and brings him back to his owner. She soon finds out that the owner of the dog is actually a cynical retired judge who spies on his neighbors' phone calls through advanced spying equipment. All three films in the trilogies have very basic plot lines, but bring a lot more to the story. Consider in "Blue", the story of a woman dealing with the loss of her loved ones. We are constantly shown ideas about the contemporary French society and how that reflects the character's behavior. "Red" is not only about a young woman who finds shelter in an older man's life, but it is also about chance, hope, and fate.

Irene Jacob stars as Valentine Dussaut, who at first finds the old man (Jean-Louis Trintignant), whom we never find the name of, extremely self-centered and disgusting. Though through self reflective analysis, and her voyeuristic intentions, she learns that the judge would be the perfect man for her, if only he was 40 years younger. Irene lives across from another, younger judge, who highly resembles the old man. This is the "what if" that keeps circling in the movie. What if Irene were born 40 years ago? The old man would have been her perfect match. But what if the younger judge is actually her perfect match, since he so closely resembles the older one. Valentine doesn't know this, only we do, and Krzysztof Kieslowski subtly suggests this in almost every frame which Irene is in. We are constantly smacked in the face with his presence, as almost a suggestion of Irene's fate.

I mention that the old man does not have a name for a reason. That reason is because it is very symbolic to the overall theme in the story. We are to compare the old judge to Auguste (Jean-Pierre Lorit), the younger judge, in more than one way. We learn that the old man once had someone he loved but she got away. In another scene, we see Auguste heartbroken as the love of his life gets away with another man. There are constant reminders of whether or not Valentine will ever meet this man. Even though they pass each other without noticing every single day. There is also the motif of the telephone, to Valentine it is a way of keeping sane and updating her life, to Auguste it is what leads to his heartbreak, and to the old man, it is the only thing he has left. These three elements serve to shadow the characters own psychology. It is a sort of statement about what they are and who they are.

All three "Colors" films stand for a certain principle, most common in France. "Blue" stands for Liberty (the personal being), "White" stands for Equality (being accepted by more than one), and "Red" is Fraternity (to socialize, to learn). And although this final chapter is an obvious focus on the Fraternity principle, Kieslowski makes sure he brings in the other two as well, in order to connect all three stories. For example, we see the old man trying to reach out to Valentine and enlighten her with his spy equipment, which is a reflection of the Equality principle. We also see near the end that Valentine is doing some soul searching and that she's more concerned about herself than others (not picking up the phone when Michel calls), a clear example of Liberty. And with all three principles established, Kieslowski nicely connects all of the characters as well, in the final and most heartfelt scene.

"Red" is about where you could have been if you were older or younger. It is about whether or not there is someone completely perfect for everyone, and whether or not one person can change your life. The final chapter in the most awe-inspiring trilogy ever made, this film breaks barriers in both directing and storytelling. It is not only about our modern life, but about where life could and should be in our modern time. And although the movie is more subtle than both "Blue" and "White", it boldly exclaims a statement of love and compassion.

It's hard to imagine that "Red" was Kieslowski's last film, and that he died at such a young age. Nevertheless, the trilogy will always be his masterpiece and we will always remember him for his work that ranks right up with Bergman, Fellini, and Wenders as a truly remarkable director who's never been awarded with an Oscar. Kieslowski, you have been missed!


Master Kieslowsky came with an idea in 1993, the idea was to portrait how human relationship are in the world today, passing from Blue (a crafted visual masterpiece about a woman's life) from White (A visual comedy movie about marriage) and finally arriving to Red (A masterpiece dealing with human interaction).

While I'm not going to spoil the move I can easily say Red is the best movie from the 90's decade because it has one of the strongest messages in a script I have ever ever seen.

The movie begins a little slow but finds it's rhythm early enough to keep you hooked through the whole movie.

The performances are perfect, sublime. since the characters are completely realistic and they're not clichéd in any way and one could expect no less from the actors and one doesn't get disappointed... seriously I believe Jean Louis Tringtignat deserved an Oscar nod at least.

The music from Zbiegnew Preisner is amazing it's one of the best musical scores ever. Piotr Sobocinsk Cinematography is also outstanding he got an Oscar nod for it (and deserved to win).

Overall the movie is a perfect 10 and will be loved by people that love foreign cinema and people who don't. Don't Miss it.

How did the awful Pulp Fiction beat ed this masterpiece at Cannes is beyond my comprehension


Are we allowed to interfere with our fellowmen's everyday's life? Is it possible to intrude upon their intimacy, to penetrate the inwardness of their thoughts violating the privacy of their own home without being blamed? The director raises some doubts about these apparently solvable questions, almost sympathetic towards judge Jean Luis' destabilizing decision of coming to terms with his own inducted self-seclusion by means of fragments of lives embezzled by him.

"Trois couleurs: Rouge" is based on the concept of "UNIVERSAL COMMUNICATION CONCEIVED AS THE HUMAN DESIRE OF AN OPEN WINDOW ON THE WORLD". The phone may be considered the main character of the story: after its performance in "Dekalog 9" it gives in the beginning the encore to Kieslowski's onlookers, followed step by step in its fast run across the world. The director looks deeply into the faculty of communication of human beings, without taking up a definite position about the ethical side of individual behavior. Once again he points out to us the unpredictability of future events, venting careful descriptions about strange courses and recourses of life separated from each other by a considerable number of years. Inexplicable combinations oddly converging in a series of continuous and upsetting situations. - Some books falling to the pavement. - One of them opening casually on a fatal page, predetermining the destiny of a future profession, as in a past similar occurrence. - Glimpses of daily life meeting fleetingly, ideally joined by their fondness for the fictitious musician Van den Budermayer. - Human fortunes marked by the most ill-fated coincidence.

In this piece of work deserving to be seen with our heart's eyes instead of our mind's ones we can witness a dialectic game between judge Jean Luis' (Jean-Louis Trintignant) and Valentine Dussaut (Irene Jacob, maybe the sweetest actress of our times, together with the beautiful Winona Ryder), in a generational conflict between the experience of a world-weary old man and the self-conscious immaturity of a nice girl on the point of facing the steepest path of her ascending way. Kieslowski talks about "dialogue tests" between a disappointed human life and a youth unaware of her future, between a spiritless misanthropist and a spontaneous girl full of good sense of unselfishness.

And the final parade when the damp odor of tragedy still lingers in the air, with all the main characters of the whole trilogy in full evidence, saved by an accidental stroke of luck thank to the providential script cleverly written, gives us the extreme greetings of this movie master fully used up by his great passion for cinema. Only a sense of bitter regret and emptiness is left to remind us the existence of a void impossible to fill. GOOD-BYE KRZYSZTOF. WE MISS YOU SO MUCH!


I believe I share the same psychological outlook on the world with Kieslowski. He is Polish, I am Dutch, yet we share a synthetic mind: the world is not void of the metaphysical amidst total coincidence. Hardly ruled by man or perhaps by a poet-prime minister, so that as a social and cultural 'low pressure area', Poland could play the role it did in WWII, being critical yet Christian towards the Jews but often not less critical toward oneself. There are innocence and guilt in Kieslowski's world view, as the symbols in Catholicism: the White versus the Black Madonna. In Rouge, the Black Madonna is she who the judge fell in love with when he was a young man. Flashbacks are magically-realistically intertwined with the present, although totally coincidental, such as the camera simply swinging to the other side of the street or the then young judge's red jeep passing by the now young woman's car after she accidentally hit his dog with it. That we leaped through time in those same camera moves, is what we grasp later. His love was unanswered, so that his life wasn't as he had planned it. He lost his ability to love other people and animals. Being a judge, he feels he is actually spying on other peoples' lives and when he retires, he simply continues to do so, spying on his neighbors this time. The innocence and sense of righteousness of the younger woman (literally) accidentally getting into his life, reinstalls his better judgment and it is because of her that he spontaneously confesses his spying behavior to his neighbors and the police, accepting and even holding on to the stones consequentially thrown through his windows. In the process, history repeats itself between this man and the woman he loves, although this time he is old and the woman not the same. Kieslowski may have wrestled with this bit for the old judge is his alter ego, and it is said he was infatuated by Irène Jacob. Both women play the same essential role in his psychology, of the one (!) who possesses his heart and soul and therefore can make him or break him, even as an old man! It is as if the 'powers in the air' are, or God is, bringing them together. Coincidences are *too* coincidental to just be chance or even good luck. There has to be some mystical, supernatural or theological source influencing these unfathomably deep life-decisions. The study book fell and opened at the page of the exam question is another example of this. Or the moment the old judge spoke his heart to the young woman, the wind outside the opera house suddenly slams the open doors and breaks the windows. The gigantic picture of the young woman happens to predict the one on TV, after the drowning accident on her Canal crossing trip. These moments are effectively accentuated through the human voice of liturgy or what sounds like it (Van den Budenmayer).


Well every scene so perfectly presented. Never before had I seen such a movie that has meaning in almost every scene.

Well while I was watching this movie I remembered watching "Amilie". Amilie is also a similar kind of movie with more fun and fantasy touch. These movies are both based on a same plot line. But both of them are Perfectly perfect in there own way and being able to create a world of their own.

Red is able to provoke lots of thoughts in people about destiny and dejavu s. And I am still thinking about it.

The story is great and the ending is a bit funny. I was laughing in the end scene. Well funny how this three movie Red White and Blue are connected.

All in all a great work of art. A work of a masterman.

10/10


In my analysis of "Trois couleurs: Blanc" I wrote that its tone is much lighter than the tone of "Trois couleurs: Bleu". I think it's the same with this film. This time it's not because of a tragic comedy-element, but much more because of the main character Valentine. Although her boyfriend is living abroad and is ridiculously jealous, she manages her life with lightness and optimism, it seems to me that she might be Kieslowski's image for a carefree youth. The opposite seems to be the judge, who is very pessimistic, a grumpy old man, who experiences big loneliness. In my view, Valentine and the judge are pretty similar to each other, the judge is just much older and has experienced many more disappointments. They share a different kind of naivety and they both discover that they can learn much from the other one. Finally I would like to stress Irène Jacob's performance, she rounds off the run of amazing female contributions to the "Three Colours"-trilogy.


This is a classic continuation to Bleu, the likewise excellent film, with Juliet Binouche as a main star, moreover, she is a cameo appearance here, in Rouge, just for a second at the very end. But this film, truly red and very sweet although very sad, is a real winner. The main heroine, played by ever great Irene Jakob, is a successful photo / fashion model. She leads a full, active life, only darkened by her traumatic relations with her weird friend Mike, who is in England. By some lucky chance, she gets friendly with the old Judge, who spends time listening to the private telephone talks of his neighbors. The story starts to weave even further, and we see him in court, being almost universally condemned for his pastime. She is the only one who feels sympathy for him, for his cute doggy Rita and her pups, and for all the people who surround them. We also witness the break-up of a happy couple of a young lawyer and his lady, and their quarrel is also fueled by that telephone scandal... But the film is not about this, even. It is mostly about the loneliness and deep rifts between people, far and near. When she sails to England on a ferry, with that lawyer as a chance fellow-passenger, as well as that earlier mentioned Binoche who starred in Bleu, the ship sinks and we see the horrified look of The Judge when he watches the news trying to guess if she survived. She did, and still we feel very heavy at heart. Mr. Kislowski managed to draw a grand, subtle story about the solitude, misunderstanding, secrets and pain. Deep, dark personal pain of those who are lost and lonely. Brilliant film.


The greatest movie ever.

How's that for a contention? However, if we look at it through purely cinematic terms, it is clear that Three Colours Red is a masterpiece. It is not enough to merely say this - Three Colours Red is the masterpiece of world cinema. If you accept that Citizen Kane is not human enough, if you accept that Star Wars is not actually very good, if you accept that Ozu and Mizoguchi both have to take a step back - then Three Colours Red is the foremost masterpiece of all time. As a discussion into human morality, Three Colours Red works on an intensely metaphysical level, with a depth that none can match. Blue went almost as far into the human psyche, but stopped as it was going to pull the rabbit out of the hat. White forced us to reflect on the humanity of equality - this, in retrospect, was better still, but still not quite there. Red, however, is the real thing. What he expresses in this movie, is an expression of what it is to be human. In fact, what he expresses is _how_ it is to feel human. It forces us to examine up to the minutest detail, the very nature of our souls, of our ethical selves. In Red, one may find meaning on one of its several levels. On the first level, Red achieves a high level of verisimilitude - we could have no trouble in calling Red an exceptionally entertaining story. However, the coincidences inherent in the film and its conceits force us to examine the movie as a movie. It is as if Kieslowski is saying: "Ceci n'est pas la réalité". In effect, in pursuing a humanistic goal, Kieslowski can also challenge reality. It is a trick that Kieslowski has been attempting since Le Double Vie de Véronique, but not until this, his final film, did he finally manage to reach this divine intertwining of fate, philosophy and circumstance. The actors and actresses, too, appear to be at the mercy of a greater power. Valentine (Irène Jacob), is aptly name, for she seems to represent an almost pure love. Meanwhile, the idea of first impressions is challenged by Jean-Louis Tritignant's Judge Kern, a cantankerous man, who, by the end, becomes an almost all-knowing observer of events - a character who symbolically seems to possess the power to bring characters together - a power to make people happy, a power which he could only achieve through Valentine.

We have a capability to see films as more than just a series of pictures. In fact, films have the potential to possess more meaning than literature. It won't happen, of course, but at least we have the power to view this film, knowing that it gives us the power to achieve the something that we can't define, but all possess. A synopsis of this film read: "A film about a woman who runs over a dog". Well, it is.

Isn't it?

-Simon Huxtable


I use IMDB very much. Mainly reading comments of other people about movies I´ve or not seen. I´ve thought it was time to write a few words about this movie that changed my life, and the way I look a movie. I think I have seen it at least a dozen times since autumn 94, when I saw it in the theatre for the first time.

I feel Kieslowski is one of the best directors of all time. And I think this is his best one. It was his last one. I was very sad the day I knew he has died, because sure we lost the chance to get something more from him.

RED is just the best Kieslowski + incredibile performance by Trintignant & Jacob + cinematography by Sobocinski. If you haven´t seen it LOOK FOR it!!! If you have, just come back to it!!

Red: just a masterpiece. please, forgive my poor English!, reader


Valentine "Dogkiller" Dussaut and Joe "The Judge" Kern join forces to clean up the mean streets of Geneva! Thrill as they put the kibosh on international heroin smugglers, Polish fugitives, peeping toms, philandering girlfriends, renegade dogs, and litterbugs who are too lazy to bin their recyclables. Don't be fooled by the deceptive Miramax ad campaign that paints it as a pretentious, art house flick. This movie is 100% action!


There's a spartan, unsentimental edge to this film that allows plenty of room for us to participate in the action without any stylistic encumbrance telling us HOW we're meant to be feeling; in 'Blue', everything was overtly sad (sure, powerful as hell, but still); in 'White', it was delightful whimsy. But there are no such emotional clues, or cues for that matter, in this one. It's as if he finally let the force of the tale work its own magic without razzle-dazzle embelishment. I think that's what makes it the most initially enigmatic of the three, but finally, the most transcendent and redemptive. Never has remorseless, unsparing honesty been quite so beautiful.


"Rouge" is part of a trilogy, but very much stands on its own. It isn't a sequel of any sort. The very end, which I won't divulge, ties the three films together, but not seeing the other two doesn't make it too confusing.

This film amazes me because it is so spare, so subtle and simple, but is as effective, emotionally and intellectually, as any big-budget spectacle or all-star melodrama. Kieslowski here investigates the phenomena of chance and destiny. Both themes are loosely woven together in the story. The film is very much a puzzle, but the message is pretty straightforward: Everything happens for a reason. Love is in all of our destinies as long as we open ourselves to it. The title, "Red" refers to the French flag, where red represents "fraternity," or brotherhood. The color dominates the visuals of the movie. I tend to think of it as representing love or passion, or the blood of life. It's great when a film allows the freedom to do that ;)


Most of Kieslowski's films seem like puzzles to me, meant to expand mind and soul. The characters are not very believable, are idealized, are schematic. Nevertheless, the way Kieslowski presents their winding ways through life, their complicated interaction with others, with the universe, with chance or destiny, makes me understand faith, makes me (want to) believe in God. That at some point it all has a meaning, if not to me, then certainly to someone.

Trois couleurs and especially "Rouge" comes closer to making me touch, feel, experience the "truth", the "meaning" than perhaps any other of his films. The only problem being the paths of the "puzzles" explored are a bit too similar to his other films and at some point they become somewhat predictable. There is still plenty of joy to be had here. It is like a familiar brand of wine - you know what to expect and it delivers, sometimes with a newly found bouquet which might come from aging - either the wine or yourself.


Irene Jacob is mesmerizing in this final installment of Krzysztof Kieslowski's trilogy and the story is infinitely satisfying as it succeeds in tying all three films together. I am simply in awe of the amount of talent it took to do one of these stories, let alone all three. Everything seems to fit together so precisely, all the elements of filmmaking so eloquently executed, and the end result so much greater than the sum of the individual parts. Trois Couleurs is epic in nature and belongs on any list of great cinematic achievements. Simply brilliant!


"They both believed that a hidden sentiment has unified them. This certitude is beautiful,but the incertitude is more beautiful. They believed that they had never been met.Nothing has happened between them.But those roads,those stairs,those corridors for all that time they could have been met." Although it did not mean to be,it was a swan song.Two young people,who are neighbors and have never been met,are found in the same places,the same times,doing most of the times the same things.They finally meet in the dramatic and very brilliant end that brings them together.Meanwhile the woman has met an old man.Their relation is brotherhood-like.He told her his life.It was like the young one's but with better prospectives.The young man can do whatever the old man has not lived.He can be happy with the woman. The ending is exceptional.There is a ship wreck.The only survivors are the heros of the "Three colors".The man and the woman finally meet.The scene lasts a few seconds.The woman there looks like the photo she had taken for an ad in the beginning of the film;sad in a red fond."But every start is only the continue.The book of the life is opened in the middle."


This movie is not only about feelings and human emotions, it is also about everything that could be but it's not. Poetry in movies can be awfully boring and annoying, but this movie is delightful to be watched. Not to mention the amazing Irène Jacob, a great actress in France - one of the best, actually. When the movie ends, you can only feel sorry. After all, when something is truly great, we want more (Well, for another great movie by K Kieslowsky with Irène Jacob we can always watch La double vie de Veronique)


A wonder. My favorite film. The most important film about relationships ever made. Brilliant writing. Magnificent directing. Image systems and symbolism that leave you thinking about it all days, weeks, years later. Wow. A truly great work of art.


What some Hollywood-movies try and practically never succeed, creating somehow metaphysical connections between persons (without becoming unrealistic), manages this beautiful movie perfectly well (resembling in that way a little to the wonderful 'La Double Vie de Veronique' of the same director and with the same beautiful actress). This is a REAL movie, that changes perspective of life a little bit - intelligent and beautiful story, masterfully directed, excellent main actors, masterful cinematography. I've just seen the movie the 3rd or 4th time, and I still think it's one of the best I've ever seen. And if you should be unhappy with the ending of 'White' - 'Red' puts an happy end to the whole trilogy.


Transcendental, sophisticated, incisive, emotive, powerful... I could think of a hundred adjectives to describe this fantastic work of art and intelligence, and still I would feel they were insufficient. All I can really say is that I am infatuated with this film. Applause to Krzysztof Kieslowski, Zbigniew Preisner, Irène Jacob, and Jean-Louis Trintignant. May "Rouge" live forever.


Stan Laurel regarded PUTTING PANTS ON PHILIP as the first true' L&H film. THE SECOND HUNDRED YEARS was the first 'official' L&H film, but this was the one where Stan completely resigned himself not only to performing (he had signed on with the Hal Roach Studios as a director and 'gag-man', before certain situations - among them Oliver Hardy's accident with a leg of lamb leading to Stan having to replace him; and the extra money that performing would provide for himself and his new wife, Lois - brought about his historic return to performing, as well as writing, directing, editing and involvement in other areas of production), but also realised the fact that he was part of a team that worked well together. This, therefore, is an historic and very important film in the history of comedy.

It is also a surprisingly funny little silent film; rather different from what Laurel & Hardy would become known for and from what they are more immediately associated with today. The characters of 'Stan & Ollie do not appear - Scottish Stan Laurel plays the nephew of Oliver Hardy, a respectable man about town who is reluctant to be seen with this strange-looking fellow with a kilt and the habit of chasing pretty girls. There are some very funny moments in this well-made, charming little movie, and the performances of these two Kings of Comedy are spot-on - watch Stan's little 'scissor-kick' and smile that says, "Well waddaya know?" when he sees girls, or the hair-ruffling scene at the airport, for instance. Hilarious.

Watch this film if you can, with backing music from The Beau Hunks Orchestra (available on the VVL video releases) which enhances the 1920s feel and is very, very pleasant to listen to. It's a brilliant and underrated little film, which is why I said it was 'surprisingly' funny.


This is one of L&H's shorts most frequently cited as the first "real" L&H teaming and perhaps one of their best silent features. J. Piedmont Mumblethunder (Ollie) is a millionaire who has come to the docks to greet his nephew Philip, whom he's never seen. At first Ollie is laughing it up with everyone when this strange little man unboards and draws a great deal of attention to himself by the way he's behaving during his medical exam, but is quite humiliated when it turns out that this is the fellow he's supposed to be greeting. He has been told that Philip is a good boy, but he has one weakness--women. Mumblethunder and Philip set off to go home, but their journey there is continually interrupted by Philip breaking into a little dance every time he sees a woman, then chasing after the woman. Huge crowds gather each time this happens, not so much because he's chasing skirts, but because Philip himself is also wearing a skirt (a kilt). Finally Mumblethunder manages to drag Philip into a tailor's shop to be measured for a proper pair of pants, but Philip escapes from there as well to chase more skirts. There are lots of laughs all around. It's also nice to see a short like this because the boys aren't exactly the characters we know and love. Ollie is pretty much his usual character, but it's such a joy to see Stan acting so differently from his usual man-child character. It shows he wasn't a one-trick pony and excelled in other types of roles when he got the chance. With a run time of 19 minutes its short and sweet, providing classic one liners which still have me in stitches.


This is a Laurel & Hardy comedy short with some great and funny moments but overall the movie relies a bit too much on just one comical premise.

The comical premise this movie mostly relies on is very simple; Stan Laurel not wearing any pants. Laurel plays a Scottish naive young person who arrives in America in full kilt. For some reason he gets the center of attention because of this and his uncle played by Oliver Hardy thinks because of this that its time to put some pants on Philip.

Its humor is well executed but the main premise also gets a bit tiresome after a while. Although the movie definitely still has its comical great moments, it at the same time is also far from the best of the many Laurel & Hardy comedy shorts that are still around. The movie is simply too simple to be considered one of the greatest, although it definitely is most fine executed all, for most part.

Great good clean fun, just nothing too remarkable or memorable all.

7/10


this movie is certainly worth a watch. it's full of action. it's also humorous. you'll laugh until your stomach hurts if you watch this movie. this movie also includes lots of hi-tech things hence the name gen-y. i recommend you to watch the prequel of this movie which is gen-x.


Genius or utter madness? That depends on your interpretation of this film. I responded to it on the level of a self-aware "cop-movie parody", and I sincerely hope that was the intention as I don't see anyone taking it seriously! :-D Paul Rudd for one seems to be chewing up the scenery and really getting into the spirit of things! Is this film supposed to mark a departure for Rudd from his core background in the comedy genre? Some kind of insane attempt to reinvent him as a hard-boiled action star? I think not!

With the cheesy, almost awkward acting, low budget FX, and zany over-the-top action set pieces, it all kinda evoked that old TV show "Sledge Hammer" for me! HILARIOUS!!! :-)

Of course, I may have totally interpreted the film wrong. If it was in fact an attempt at a 'straight' action movie, then it was certainly an amusing failure!!

Watch with lots of alcohol and some mates!!! ;-)


This is a well done action movie. There are plenty of fight scenes, the acting is convincing (for this genre) and RS1 is awesome. I don't know why people feel compelled to trash RS1, I thought his effects were executed very nicely and his design looked great. The plot was acceptable for a martial arts movie.

Having said that, I must tell you Richard Sun is one of the worst actors from Hong Kong I have ever watched. At least RS1 had the right idea by killing him. Now, for all of you who thought Sam Lee (Alien) was a bad actor...he wasn't meant to be taken seriously! I have just had the pleasure of watching Gen-X Cops (prequel) and Sam Lee played the same character the same way!

Now, please, all of you guys who watch highly reviewed Oscar winners: DO NOT JUDGE THIS IS A THINKING MAN'S MOVIE! IT ISN'T SUPPOSED TO REQUIRE THOUGHT! Just meant to be enjoyed, that's all. I hope they make another soon.


I am having a holiday in hong kong now, and i just saw gen y cops at the cinema.... what can i say... it was sooo cool!!

Everything you could wish for was in it! Basically... just see it if ya can... I'm gonna get my friend to send me the vcd when it comes out....

Only bad thing was the dodgy American style of talking employed by some of the hl actors... like Edison... "What's up my man?!" but it did add even more humour to iy... hhehe

See it... especially if ya like any of the following geners: HKfilm, action, comedy, sci fi! SEEITMAN!! Edison did a good song for it too... so download it... Edison Tse - Heroes


This film is great. All the hi-tech machinery and technology is mind-boggling. It is packed with action, humour and not to mention, guys. You will want to see it again and again. Very very funny. Also, it has a very unique plot which is unpredictable. You wouldn't want to miss out on it.


Gen-Y Cops...since I heard of the film being in release, I have been wanting to see it because I loved Gen-X Cops. I was a little disappointed that A) Nicholas Tse didn't return and B) too much slapstick. Nevertheless, I enjoyed the sequel because it may not be good as the first film, but it is good in its own way.

Stephen Fung returns as the ultracool ladies man Match, who has a steady girl in Oli (NOTE: Where is Haze?) and Sam Lee returns as the insane Alien (this time sporting a mohawk and speaking a lot of English!!!!). The real star of the film is newcomer Edison Chen. He makes a great replacement for Nicholas Tse as...Edison. I also enjoyed Paul Rudd's performance of Agent Curtis...he seems to be the tough as nails, smartmouth FBI Agent you'd love to hate...but soon, you'd like his character.

The fight scenes are a lot better in this one...even though there are very few, but they are great, courtesy of Jackie Chan stuntman Nicky Li.

Look for a cameo from Ron Smoorenburg as a cage fighter who has a teeny little fight with Match. Smoorenburg also is the stunt double for Rudd.

If you liked GEN-X COPS...you'll love GEN-Y COPS!!!


I think this movie has got it all. It has really cool music that I can never get out of my head. It has cool looking characters. IS REALLY funny(you know, the kind that you'll crack up on the ground and you'll keep saying the funny parts over every day for three weeks).Despite the bad acting, bad cgi, and bad story(about cops going after a robot), its really cool. Its one of those movies you and all of your family can watch, get together, eat pizza, laugh like crazy, and watch it two more times.

There are so many funny parts, like when Kurt was trying to get Edison's attention and gave him the finger, and then threw a paint ball gun at him so they could play paint ball. On that part, I kept saying "Remember, Remember?"to my cousins who saw it and showed them what happened. There was also a really funny part when Edision ran into the room and Kurt was there(just before they fought) and Kurt was talking about his "Strange dream" and how he was "Superman". I LOVED that part, although it has been a while since I saw it, so I don't remember that part. Everything the actors said were funny, like how Kurt says, "I worship you, like a GOD!" to the robot.

Although there was some bad things, in all it was a GREAT movie. Man, I can't stop laughing. I wish I had that movie. );


I have so much hope for the sequel to Gen-X. Luckily, my hopes have came true. You got a whole bunch of action, comedy...silly comedy, and surprises. I think the newcomer Edison, is really a hit in the movie, but I really find Sam's 'Alien' stupidly annoying with English. Although the movie had some flaws with the robot graphics and the silly dialogue, the action always keeps it strong. The action set-up is much stronger than the 1st.

This movie is getting more of an American feel since 60% of the movie is in English from the Cantonese. This movie will not disappoint you. I recommended this for young 'uns that care about pure action-packed fun.


The main reason to check this one out is to watch Laura Gemser in all her glory.

That's reason enough for me.

She heads to Africa as guests of another rich guy that seems to be all over these films. Huge mansion near the jungle. Hunters staying around for parties when they aren't out hunting zebras. And said parties becoming drunken orgies.

All the high society types in the Emanuelle films seem to have out of control fetishes. And Emanuelle beds most of them.

Joe D'Amato did NOT direct this one. He just ripped it off and used the same cast(s). And did anyone notice the 'subliminal' sexual images at the gas station? And why did most of the men stay dressed during the sex scenes?

Coherence? Hardly any. BUT GODDESS GEMSER IS BEAUTIFUL.


The first of the Italian rip-offs of the French soft porn blockbuster (though it might be interesting to note that the boot-shaped country actually got their first with Cesare Canevari's 1968 IO, EMMANUELLE starring Erika Blanc) is a very different kettle of fish than the sleazy sequels provided by the late, questionably great Joe D'Amato. It is much closer in spirit to the now very dated Just Jaeckin film from 1973, taking a pokerfaced look at male/female relationships, questioning such then hot topics as fidelity and jealousy, all in luxurious exotic surroundings. Unlike D'Amato, director Albert Thomas (aka Adalberto Albertini, who also made the hard to find YELLOW EMANUELLE, actually a sexed-up version of MADAME BUTTERFLY !) does not present us with predatory drug lords, snuff movie makers or rampaging cannibals, making for an admittedly less sensational yet far more erotic viewing experience.

Photo journalist Mae Jordan aka 'Emanuelle' (lovely Java-born Laura Gemser in her first lead role following bit parts as a Thai masseuse in EMMANUELLE 2 and an 'unspoilt native' in Just Jaeckin's portion of the rarely seen COLLECTIONS PRIVEES) flies down to Nairobi where she's to shoot the stills accompanying an article by noted British writer Anne, played by the very Teutonic Karin Schubert with a butch haircut that takes some getting used to. Anne shares an 'open relationship' (remember when this was made) with her Italian husband Gianni (Angelo Infanti), meaning that both pretty much jump anything with a pulse. Contrary to her subsequent reputation, Emanuelle appears positively reticent compared to her heavy breathing hosts, smoldering seductively at Gianni by way of foreplay until the exquisitely tantalizing pay-off. Okay, so she does make up for this lack of wantonness at the end when she does an entire male hockey team on the train. I kid you not.

Production on this sexploitation classic is quite impressive, especially the superb cinematography. And Nico Fidenco's musical theme is a solid favorite of anyone with more than a passing interest in the genre, a hilarious Eurotrash pop ditty (try to make out those totally nonsensical lyrics and have a full evening's worth of fun with the family !) that turns up throughout the entire film in every conceivable type of rendition from slow 'n' sexy to hip-gyrating disco.

This is entirely Laura Gemser's show though. Billed simply as 'Emanuelle' (as was another actress on the same director's elusive EMANUELLE NERA 2), she lights up the screen from start to finish. Not yet submitted to endless rape scenarios (as she would be once D'Amato took over), she seems much more relaxed than in later films, even smiling from time to time, a rare occasion as anyone who has seen some of the lady's work surely knows. A flawless Eurasian rather than as the title suggests black beauty (she hails from Dutch India now Indonesia and is actually quite close in physical appearance to the supposed author of the novel Emmanuelle Arsan), she projects a slightly passive, even submissive sensuality which somehow detaches her from the 'depravity' her morally corrupted cohorts indulge in. Unlike the French film, cheapskate moralizing is kept to a bare minimum, almost thrown in as an afterthought near film's end when Emanuelle tells Gianni that he hasn't lost her as he never possessed her to begin with. I swear you could hear audiences of the Just Jaeckin version groan whenever Alain Cuny's supremely irritating Mario showed up on screen as it meant we were in for too many minutes of halfbacks libertine philosophizing as an alibi for getting the divine Sylvia Kristel (now living in the Belgian capital of Brussels by the way...) to disrobe, the real reasons theaters were packed for years on end. Gemser's later husband, Gabriele Tinti (now deceased, she has remarried), appears on the sidelines as the constantly drunk 'Scottish' (huh ?) writer who forces himself briefly on Emanuelle amid the African ruins at some point, but no real sex scene though.


Got back from Morocco then, where my dad was attached to the German embassy, when the film came out in Europe; took all my girlfriends to see it, show them the beauty of the country, where Jimi had played - and stayed -; where the hippies stopped after leaving Ibiza and before joining Goa. Sean Combs just celebrated at a friends restaurant in Marrakech recently, the Djema el Fna was much wilder in those days than it is now; the Stones went there earlier, Brian recorded in Tangiers ; so it's memories and family entertainment and I'm glad my son will get to know about the north of Africa watching this movie. Candice Bergen looks beautiful and oo7/Connery is pretty funny indeed; and Teddy Roosevelt as played by Brian Keith quite impressive.


I just cannot emphasize enough what a lovely movie this is. Just

the memory of this movie right now enchants me. If you want to

see a sweeping epic of a movie, with wonderful actors in vivid

scenery, with great dialogue, reminding you of what early America

could have been like [what the world could have been like back

then]...well...I highly recommend this movie. Especially during a

time of war and conflict in Iraq...when our American image is not at

all what it used to be...this movie takes you back to a time when we

were just starting out. When being an American meant really

picking yourself up by your bootstraps and getting going. When

the world was such an untamed and unknown place. Well, this

movie has that...and more. Enjoy.


In a Morocco completely invaded by Europeans and Americans, in the beginning of the Twentieth Century, the Moroccan leader Mulay Achmed Mohammed el-Raisuli the Magnificent (Sean Connery) kidnaps the American Eden Pedecaris (Candice Bergen), her son and her daughter. His intention is to get some money and rifles as ransom for them, to fight against the corrupt Sultan of Moroco (Marc Zuber). In times of election, the American President Theodore Roosevelt (Brian Keith) agrees with the proposal. However, Raisuli is betrayed and Eden helps him to be released from the prison with the American soldiers. I do not like films about explicit colonialism and lack of respect to the sovereignty of other countries, but `The Lion and the Wind' is indeed a great adventure. The action scenes are very realistic. Candice Bergen, the most beautiful American actress in the 70´s, is wonderful, performing an abducted woman like in the remarkable movie `Soldier Blue'. Sean Connery is perfect, as usual, as an honest and nationalist religious leader. Brian Keith is great as the American president. I do not know much about the Morocco history to analyze whether there is any truth in this story, but this movie is a worthwhile entertainment. In Brazil it is only available on VHS. My vote is eight.

Title (Brazil): `O Vento e o Leão' (`The Lion and the Wind')


Average adventure movie that took a serious story and "Holywoodised" it.The watering down effect done particularly towards the average script snatched away this movie's place as a would be solid classic. Why water down such a great storyline?Probably because it deals with "sensitive" colonial subject matters and the producers do not want to create political heat,just quick profits thank you.The directing,cinematography and soundtrack and acting was good.The screenplay was average.The charm of Connery made up for his wrong Arabic accent and all the scenes with President T. Roosevelt were masterpiece takes.The costumes/sets here was very good.Too bad we did not get more of a serious historical drama since this is what the story demands.Only for big fans of the lead actors or fans of exotic Romance/Adventure Holywood movies.....


The portrayal of the Marines in this film is spot on. The action scenes are some of the best ever produced in accuracy of content. The uniforms and weaponry of both the U.S. and German troops were perfect. The costumes and weaponry of the Berbers were perfectly accurate as well. This film could easily be used to teach militaria of the period and has been used by the USMC Academy for this purpose. The scenes depicting Roosevelt shooting and the rifles he was using was beautiful. Procuring so many period weapons in such good shape is testament to the attention to detail and presentation this film should be noted for. Millius is a genius.


The Wind and the Lion is well written and superbly acted. It is a tale that exemplifies the American spirit and the American character. This movie is a story from the early 20th century that is strangely relevant to the political landscape of the world in the beginning of the 21st century. It is a true classic.


The wind and the lion is a marvelous sweeping motion picture. It is a monument to what filmmaking once was but is no more.

Connery, despite the thick scottish brogue, plays the Raisulu very well. He inspires the viewer in a way many lead characters cannot.

 Candice Bergen, in one of her early roles, is marvelous as the kidnapped socialite Mrs. Pedacaris, showing courage in the face of adversity (and plenty of humour as well). A marvelous film, rent or buy it and you won't be disappointed.


I saw this film at school and absolutely loved it. Based on a true story, this is an absolutely splendid masterpiece of a film. Seriously, I couldn't find anything wrong with it. One definite plus is how it was filmed. Set in Morrocco in 1904, the Wind and the Lion is filled with stirring images like the Great Raisuli on horseback especially. The cinematography was faultless, the editing was crisp, the costumes were gorgeous and the scenery was breathtaking. And I have to mention the music from Jerry Goldsmith, it was phenomenal. I have used this phrase a lot recently, but Goldsmith ain't my favourite film composer for nothing. His score here is so rousing and exciting, it shows the man's true musical genius, and this gem of a score should be up there with Goldsmith's best scores with Legend, Rambo:First Blood, Patton and The Secret of NIMH.

The action is exhilarating and the screenplay is intelligent and sophisticated. The direction is sensitively handled too. The performances were astounding as well, with Sean Connery, ever the picture of charisma and suavity, magnificent as the Great Raisuli, he almost dominates the entire picture on his own. He is joined by a feisty Candice Bergen, a wily John Huston and a captivating Brian Keith in one of his more understated performances. The history is fairly accurate, perhaps flimsy in some areas, but with the acting, music and visuals so good I am past caring. 10/10 Bethany Cox


I agree with msinabottle; this is a great movie. Here are some dialogue snippets:

Raisuli (Sean Connery) to Eden Pedecaris (Candice Bergen): "You see the man at the well, how he draws the water? When one bucket empties, the other fills. It is so with the world. At present, you are full of power. But you're spilling it, wastefully. And Islam is lapping up the drops as they spill from your bucket."

Raisuli: The English have paid very well in the past. Pedecaris: Well you'll not have your way with the Americans. President Roosevelt will have your head for this. Raisuli: Roosevelt. This President Roosevelt--he would try and take it himself? Pedecaris: He certainly would! He is a man of grit and strong moral fiber. He does not kidnap women and children! Raisuli: What kind of rifle does he use? Pedecaris: A Winchester! Raisuli: Winchester. Winchester. I have no knowledge of this rifle. Pedecaris: You will.

Teddy Roosevelt (Brian Keith): The American Grizzly Bear is a symbol of the American character: strength, intelligence, ferocity. A little blind and reckless at times, but courageous beyond all doubt. Oh, and one other trait goes with all previous. Newspaper reporter: And that, Mr. President? Teddy Roosevelt: Loneliness. The bear lives out his life alone. Indomitable. Unconquered. But always alone. He has no real allies, only enemies--but none of them are as great as he. Newspaper reporter: You feel this might be an American trait? Teddy Roosevelt: Certainly. The world would never love us. It may respect us. It may even grow to fear us. But it'll never love us. For we have too much audacity. And we're a bit blind and reckless at times, too.


In a very-near-future world, a corrupt government monitors everyone constantly with computers and surveillance. One man has managed to evade assimilation, and operates outside the system, fighting to preserve his freedom. An engaging and imaginative story and some very interesting editing and camera work. There are some confusing and slow parts, but all in all, an excellent example of what a small crew with brains and talent can do on a shoestring budget.


I went to this film having no idea what to expect. I actually took a date to it in the theaters when it first came out. We both thoroughly enjoyed it and it helped to have someone to discuss it with after seeing it.

I only recommend seeing this film if you appreciate non-mainstream movies. It's not as disjointed as Liquid Sky or as fanciful as Forbidden Zone. The original plot is very easy to follow. There's A LOT of subtle humor.

Here's a quick summary of the plot if you are completely lost: A big-brother type government keeps tabs on everyone in society. Suddenly a new person appears and there's no data on him (he appears insane). He may or may not be the second-coming of Christ. The over-cautious government goes into a frenzy to find him and discover his true motives. The ruler is also obsessed with immortality.

Some scenes are frantic while others are completely low-key. We follow the lead character as he encounters all different kinds of people in society.

I didn't need my consciousness altered to enjoy the film, but I know that some of my friends felt that helped.

Split was also filmed around Santa Cruz and San Francisco.


This is the type of film that may need to be viewed several times to capture all of its beauty and intelligence { just like Curse of Frankenstein from 1957} . If you don't like odd, non-mainstream films, steer clear of this masterpiece. For me, the artwork alone in this film is worth the purchase price of the videocassete. The storyline is a bit fantastic but seems to becoming reality in our world today. For being produced in the 1980s, this film is proving to be a prophetic vision of whats to come with Big government and Big brother wanting to control and monitor us.

There are many slow sections and the dialog can be quite hard to catch in many scenes { thats why I've watched it 6 times now} but if you can digest it all, it may prove to be well worth your time.

The film is basically about a world where people have evolved into robotic machines that have lost their individualism . They are only concerned about accumulating and procreating. The hero of the film has not succumb to this sickness and has not been " tagged" and monitored by big brother. His mission is to release a secret drug into the water supply which will change the way the human robots think and allow individulaism to once again be a part of humanity.

Yes, its very low budget, but for its time the computer effects and sound effects are very unique and the paintings are utterly fascinating. If you have an open mind, this film should impress and its prophetic visions are chilling.


If you Listen to Ween (The Pod, God/Satan), then you know what's going on with "Split" I found that watching the film under the influence of LSD helped to deal with Audio/Video tracers from fantastic editing job. The plot was only important from second to second. The acid helped to interact with the sounds, subliminal and general pace of this masterpiece. Don't bother writing about something out of your comprehension's reach...There just isn't enough of these great independent attempts at expression at it's most raw , amateur level. I dare anyone to make a movie that can equally Mess with my head and change the way I look at visual arts and the world's reality. Not to mention the many realities that haven't yet been explored by this humans mind. I love the vision of Chris Shaw. I also appreciate the texturing terroristic film "The Begotten" by E. Elias Merhige.


Ten years before "The Matrix" and hot on the heals of "They Live" came this brilliant piece of low budget science fiction film making. If you like bizarre, unconventional, intellectually challenging, David Lynch meets John Carpenter style movie-making you'll love "Split". There are moments of true genius in the framing and cinematography. Look closely at a sequence shot through wine glasses in an art opening party and right after that a scene involving cue cards. The plot involves a man named Starker who lives outside of society who wants to wake us up from the dream. Similar to "They Live", "1984" and "The Matrix", it is based on the premise that we are all constantly monitored by shadowy Big Brother type government agents that know everything about us and have invisible robot probes constantly patrolling the city. This is all revealed pretty early on in the plot. POSSIBLE SPOILER: Starker has invented a drug that when placed in the water supply will wake everyone up from the illusion of reality. Along with the cinematography and the ingenious ways the director makes do with his shoestring budget, the other highlights of this film are the monologues. I challenge anyone to not be rewinding, memorizing and quoting the classic quotes from this movie for years to come.


I saw this movie once a long time ago, just once, and I didn't know where it had come from, and I looked for about six years to find it, and I finally found it here at IMDb.com! Just the whole concept of the movie is great, I believe it's got something to do with a race of bioengineered beings, keeping tabs on us and our planet, but there is one person who keeps out of being assimilated into conformity. And the way that he does it,to keep himself from being tracked and located, is what keeps the movie entertaining. I don't remember exactly how it ended, but I remember, it finished with a great climax, and a good twist.


When I first heard about "Greek," I figured I would watch it because it sounded ridiculous. Another of ABC Family's so-bad-they're-almost-good shows. But tuning in with a friend from college found us both enjoying the pilot episode a lot more than we had expected.

As a member of a Greek society, I can say that a lot of the stereotypes that are brought up here are ones that come up almost every time someone starts talking about the sororities and fraternities on a campus. And are also very fun to play with just on are own, let alone to watch on a TV screen. The opening scene harkened to an only-slightly-dramatized version of preparing for an actual formal rush in some sororities and it continued on from there.

This isn't a show for over-sensitive Greeks. If you get offended even at jokes about things that aren't-so-great about Greek life, then you'll spend the entire first episode, and probably many other, cringing and yelling. But everyone else should have a ton of fun watching it. It's nothing new, but when it comes to college, nothing ever is.


I really like the show!! As a part of Greek Life, I can say that some things are over-exaggerated, but overall it's still pretty damn funny.

Rusty is a likable lead character, his roommate is HILARIOUS and the entire cast is entertaining in their own rights. I like that it focuses on individual situations as well as interpersonal relations with the organizations.

This show covers it all, and they do it without cursing or anything else that bad (how else could it be on ABC Family?).

My favorites are Cappie (of course), Rusty's roommate and pretty much all of Kappa Tau. This show is a great launch pad for them and I'm excited to see what doors this opens.

Please renew this show next summer, ABC Family. Like I said, love love LOVE it!!


So when I first saw commercials for Greek I did have a few questions to how they were going to approach Greek life, if they were going to give away sacred frat and sorority secrets, if they were going to focus on the brother and sisterhood a fraternity or sorority brings, or what most college kids think of Greek life as a huge party.

Luckily, it covered everything. The story plot was great, it gave you a character to love, hate, someone you want to be like, someone you don't want to be like, and of course a crazy roommate!

It was one of my first looks at what writers believed Greek life to be like, and I can honestly say they hit the nail pretty dead on.

I love how one of the biggest things they covered throughout the season was the relationship between Rusty and his crazy roommate. Its hard enough moving away from home, and being forced to live in a small room with someone you don't even know, then come to find out.. you have nothing in common. Probably every college bound freshmens worst nightmare.

Rustys sister Casey was pretty much the typical girl on campus EVERYONE is jealous of. What didn't she have? Oh thats right.. Evan all to herself. Rebecca and Evan had an "affair" early into the season, which made you feel fairly sympathetic for Casey. Her character evolved, and her relationship with Rusty became more and more loving and outgoing.

Cappie is one of the most fun loving characters, and absolutely insane. One of my favorite episodes included him getting completely trashed at a strip club, and Rusty having to call Casey to bail them out. I like how they addressed the issue of gay people in Greek houses, Calvin was a very real feeling character, and I really respected him because he stuck to his standards. So Jen K was fairly crazy, but she actually liked Rusty. It was surprising and I continued to question her from the start, but of course, I did want it to work out between her and Rusty.

I am definitely looking forward to the return of Greek. It takes you into the truth of Greek life, something that a lot of people look past. One of the biggest things that frats and sororities are known for is parties and drinking. Greek is a great show, and the characters are easy to relate to.


I just recently stumbled upon this show when ABC family had an all day marathon before season 2 premiered. I remember seeing previews for the show back in 2007, and thought it would be short lived, and not very well written, because it was on ABC Family.

Never doubt an ABC family show! This show surprised me in the best way possible. Not only is the show well written, story lines are realistic, funny, and enjoyable. I was expecting a lot of talk about relationships, something like "this guy dated that girl who dumped me for that kid... etc." But this show is anything but! The characters are appealing and you really feel a connection between them all. There is a lot of chemistry between the actors, and they can really make you feel like the stuff is happening right before your eyes.

Don't doubt this show, it is truly enjoyable to watch... and get hooked on ;)


I'm not a big TV person... but when I saw the premier episode of Greek, I couldn't wait until next week! I don't miss the show for NOTHING!

THANK GOD for DVR! LOL I'm in love with Cappie... he acts like a bad boy, but he is so sweet... Everybody has their own character so, we have pretty much all types of people. You could still throw in a Hispanic and a chubby persons.

I didn't go to school in USA, so, I never liked the idea of frat houses and stuff like that, so, when my husband told me about the show I didn't pay attention, until he asked me to watch it and since I didn't have noting better to do, I agreed. I laughed SO hard the first night that I just needed to keep watching it.

So.. i'm with the other people that voted for this show to continue on! I will hope for a second, third and who knows how many more episodes! Its a really good show, very funny and entertaining!


I must say I thought the show Greek would be really ridiculous and stupid. Since I am part of a sorority I didn't want them to make Greek organizations look bad....

but I think Greek is hilarious. Yes, they do have the stereotypical sorority and fraternity but it's not mocking but just cute humor.

All the characters are pretty likable minus Rebecca Logan (I just can't stand her), Casey and Rusty have good chemistry as brother and sister. Then there is Cappie. Who doesn't love a guy like Cappie haha His character brings so much to the show. Rusty's room mate, Dale played by Clark Duke, is hilarious as well.

It's definitely fun to watch so tune in for season 2. I can't wait till it is back on!!


I watched the pilot episode for this one with high expectations, having just graduated college and moved on to "real life". I was not in a fraternity, but a lot of my best buddies were, and I got to partake in a lot of the partying that they did in their house, so I know what goes on to some extent.

This show is obviously a dramatization, not a documentary in any way of Greek life, or college life for that matter, although it does hold a lot of truth, albeit exaggerated for the most part. If you watch the show for the value it contains as a TV show, and nothing more, it is very entertaining, much like movies such as Old School, Porky's, Animal House, etc. If you watch it expecting it to chronicle all of your experiences in your own college life, you will probably either be left wanting more, or mad that they over-dramatize a lot of events.


I have watched two episodes so far, I really like it. Even though I am no longer in college, it makes me miss the wonderful college life. I wish that I spent a little more time socializing. I kind of identify myself with rusty. When I was rushing a fraternity, my big brother was not like Cappie at all, I wish that I had a big brother like him. So if a show like this can actually make people to identify themselves with the characters, then it is a pretty good show.

It is more realistic than American pie with less explicit sex jokes. Can we also call this a younger version of "desperate wives?" some of the writers must be Greeks themselves, the story seems to reflect somewhat of the real fraternity and sorority life. It was shot in high definition. And they actually filmed outside instead of inside of studios. so the picture quality is very good. They could easily make this a good film. Unlike a movie which can only last a few hours, I can have about 45 minutes of fun watching it free on TV weekly.

The casting is excellent, the actors are about the right age, and they are new and fresh, so that makes them more real. This show practically is about everyone. There are Asian and black frat boys and sorority girls in the show as well. It is almost a little shocking that they had a little story about two guys in the fraternity had sex in first episode, then tried to hook up again in the second episode. I don't think that I have seen anything like this on TV before. This show somehow reminded me about a Warner bro's TV show of teenagers called "Young Americans" which got canceled in early 2001. In that show, a girl who dressed like a man kissed a guy, and that guy thought that she was a male homosexual.

Greek life can be fun, but on the same time, students have to study for exams, etc; by the time when people actually have some free time in their lives, There is no fraternity of sorority for them to join any more. I don't know how long this show will last, sooner or later, those people will have to "graduate" college, too. Maybe they will find some new actors for another 4 years of fun college life!


When I sat down to watch Greek for the first time, I wasn't expecting a show with complex characters, intriguing plot lines, and impeccable writing... but that's exactly what I got.

Greek follows several college students who are in the Greek system at Cyprus Rhodes University. Rusty Cartwright enters Cyprus Rhodes as a Polymer Science major who aspires to be in a fraternity. His older sister, Casey (the show's center and soon-to-be-president of Zeta Beta Zeta, the most prestigious sorority on campus), isn't exactly supportive of his plans. In fact, none of her friends even knew she had a brother until he set foot on the college grounds! On top of dealing with the fact that her dorky younger brother has been forced back into her life, Casey's boyfriend Evan Chambers (soon-to-be-president of THE fraternity on campus, Omega Chi) is cheating on her with a new ZBZ pledge (Rebecca Logan), diabolical ZBZ president Frannie is pressuring her to stay with him, and she still has feelings for her slacker ex-boyfriend Cappie (president of the party house on campus, Kappa Tau). These characters are joined by Calvin Owens (an athletic, intelligent friend of Rusty's who happens to be gay), Dale Kettlewell (Rusty's die-hard Christian and "possibly racist" roommate and best friend), and Ashleigh (Casey's quirky best friend and confidante).

Throughout Greek's two seasons (or four chapters) viewers are often reminded that college life is not black and white, but "in shades of gray from here on out." Every character makes their fair share of mistakes, but every one of them has redeemable qualities. Casey and Cappie have a complicated, but beautiful, relationship throughout the series. Rusty, Dale, and Calvin's friendship is not always perfect, but they manage to survive every obstacle that is thrown at them. Even Frannie, Rebecca, and Evan (the show's "villains") are shown as human every once in a while.

Greek shows college students at their best, worst, and in-between. It is a show that reveals college as what it truly is: a four-year adventure where one's morals, beliefs, and willpower are tested, compromised, and sometimes even changed.

Greek has at least one season left, if not more, before it ends. I cannot wait to see where the characters end up next. Greek is not your typical ABC family sitcom. If you want to tune in to a show that shows the truth behind human motivation, Greek is the show for you.


i love this show. i hate when it goes to season finale because it feels like forever until the season starts again!! i have followed this show since its pilot then all the way threw from where rusty starts college and see's Casey his sister to now where he's dating Dana.. love this show cant wait until Monday night!! Also i am so glad that cappie and Casey finally got back together that was driving me crazy!!! As for Evan and rebecca i hope they get back together which it just feels like they will by the finale. i just looked it up about the main part of the cast and i am so SHOCKED that Casey Cartwright(Spencer Grammar)is Kelsey Grammar's daughter!!! that just surprises me so much and the other thing that's a huge SHOCKER is that she was born the same year as me and that she was born on my baby brother birth date with my year and i had been watching her the whole entire time and had no clue!!


...I cannot believe I was hooked on this show instantly, after seeing the first scene I was in it deep.

Anyway, first of all the guys are hot, Cappy, Evan, Calvin, Fischer, Cappy, Heath, Cappy etc.

Secondly, the girls are cute, sexy, smart and are not afraid of being called bitches. I like that. Which at the same time doesn't make them mean and greedy, just realistic.

Third the relationships are so great, especially Casey and Cappy. Lately every show turns very away from it's original path and people end up with someone who wasn't even in the first season. Cappy and Casey's relationship is true love, a kind that lasts. They loved each other throughout the years and it didn't end when a guest star appeared.

In todays world maybe it's kind of unbelievable for two people to love each other for a long time but it happens. And people define each other in college so I knew exactly who I wanted to be with in college. Just like Casey and Cappy.

I HOPE THERE ARE MANY MORE SEASONS OF THIS SHOW AND I HOPE WE CAN SEE THE RELATIONSHIP BETWEEN CASEY AND CAPPY NOW THAT THEY WILL PROBABLY STAY TOGETHER, at Thanksgiving... Love this show


I am so excited that Greek is back! This season looks really eventful. Im glad that Casey is trying to get serious about school but is still involved in the sorority. Its really funny that she wants to go into politics & that they're highlighting her 'scheming talent.' I loved Calvin's new haircut! It makes him look more mature. They should shave Cappy's head, as well. All the guys are hot but Calvin is definitely the hottest! I cant wait to see more of him! I'm especially interested in what happens between Calvin, Adam, & Rusty! I also love Rebecca. She's really pretty. I actually think that Rebecca & Calvin should hook up. go for it, Calvin! Join my team!


As someone who was in a Pan-Hellenic sorority, I wasn't sure what to expect when I tuned into this show. After seeing so many over dramatizations in "made for TV movies" and the craziness of the reality shows, I was curious to see if Greek would be able to show the true College and Greek life experience.

I was very pleasantly surprised at how the show was able to give the viewer the satisfaction of identifying the ever-familiar characters of this genre, but it was also able to add depth to the characters. Greek life isn't just about parties and petty conflict. Although those things happen within Greek Life, they also happen in any other social or professional circle throughout a person's life. To characterize it as some exclusive experience to those in a Greek Organization would be false. Most of the story lines and situations taking place in Greek can and do take place everywhere, in every circle of friends, on sports teams, in real life. But I've watched both episodes and my "little sister" whom I'm still very close to and I have spent both episodes laughing and being reminded of how they've truly captured the spirit of our college years and experiences.

I liked how the second episode showed how the characters struggle with the other facets of their lives; school, relationships, goals, etc. Cappie telling Rusty that school comes first and going to your brothers for help, that was very true to life. You can't stay in an Organization if you have bad grades. The way Rusty got his assignment to his professor was far fetched, but it was entertaining. Even the dynamic between Casey and Rusty; It happens, you grow up and whatever your relationship with your sibling(s) was, it changes so you must adjust.

The bottom line: Greek is a great show, great entertainment value, and enough "real life" in there to be believable and definitely worth the viewers time.


This show is absolutely fantastic. It provides all the great drama and romance of teen shows like The OC and Dawsons, but it's a whole lot funnier. It's a show with morals and values, without everything being sugar coated and sanitised (ala 7th Heaven.) We don't have sororities or fraternities in Australia, and our university system is completely different, so I have no idea how accurately Greek life is portrayed. But I don't care! Because this show is my new favourite! Any writer that can make me love a racist, homophobe confederate flag-waving Bible basher must be genius.

And Cappie is my new Pacey. Sorry Josh Jackson, you've been dethroned!


This is a decent effort for a B-Movie Martial Arts actioner. Ian Jacklin, a former North American cruiser weight Kickboxing champion, is the lead and acquits himself well in the action scenes. The muscular Matthias Hues gets a chance to add more to his Martial Arts bad guy persona in this film than in all of his many others and if you are a fan of The Teutonic Titan, rent this movie now!

Renee Griffin is also noteworthy as the romantic interest in this film. She starts off with attitude but soon warms up to the hero and they make "The beast with two backs" in a very stylish fashion.

The fight scenes are good in the American tradition (NO Hong Kong acrobatics here!) with added realism from having Benny "The Jet" Urquidez playing himself as John Larson's (Jacklin) trainer.

All in all this film seems to have more sub plots than most in its genre so you get MORE of a story.


Another of the endless amount of cookie-cutter 'Kickboxers Fight to the Death for the Amusement of Wealthy Scumbags' films that there were so many of in the 90s... Y'know, the ones created by taking the words 'Death', 'Blood' and 'Steel' and the words 'Ring', 'Fight', 'Match' and 'Cage' and putting them in a random generator! Saying that though, Death Match is a pretty good entry in the over-used genre, thanks to its exciting fight scenes and the surprisingly good acting of its kickboxer cast.

The story concerns two buddies - ex-Kickboxing World Champion John Larson (played by pug-faced Middleweight Kickboxing Champ Ian Jacklin, probably previously best known for his awful performance as the main villain in Ring of Fire 2) and Nick Wallace (Nick Hill, a likable guy probably best known for the role of street-fighter Sergio in Bloodsport 2) who work the L.A. docks loading crates onto ships. One discovery of a boxful of guns and a brief fight later, our two heroes are jobless and propping up an L.A. bar. Sensible John Larson decides to head North and look for a job; headstrong Nick Wallace has heard of a guy paying good money for fighters to fight in private kickboxing matches. "Why should things change?" says John, " If you need me, i'll be there." Predictably enough, it isn't long before Nick has gone missing and his good friend is fighting in the deadly 'ring of death' trying to find a lead to his missing buddy.

Sure enough, there are no prizes for originality here, but like i said before, this films strength lies in its action, its cast of real-life fighters and the fairly good performances it manages to wring from them. Ian Jacklin in particular surprised me. Previously i'd just seen him as the bad guy in Ring of Fire 2 and in bit-parts in tripe like The Steel Ring, and i've always been quite amused at how bad an actor he is (good fighter though!). But in Death Match, he's pretty good! Given a decent script and a haircut, he proves himself to be quite the charismatic leading man! And his friendship with Nick is very well portrayed. Jacklin and Hill have a nice chemistry and you really believe these two characters care for each other. Enough for one of them to lose a job, travel halfway across the country and risk death to save the other - I wish i had a friend like that!

It was also nice to see Matthias Hues as a villainous henchman with a little more depth than we're used to seeing from his many 'villainous henchman' roles. However don't be fooled into thinking he's the star just because he's on the video cover (with, it seems, his head stuck on the body of Michael Bernardo from the cover of Shootfighter) - he is good while he's on screen, but he isn't on much..

On the negative side, the film is pretty slow when there's no fighting going on, with lots of unnecessary scenes (whats with gangster Jimmie Fiorello's pointless story about his grandfather??), and the end fight is disappointingly short, but on the whole i enjoyed it! Plenty of fights, most of them good. Isn't that all we martial arts really need? And of course eye-candy, here in the lovely form of the very pretty Renee Ammann. All in all, a pretty entertaining kickboxing movie.


One of my favorite movies. I like horses, I like happy endings, and I like Walter Matthau. I miss him and am glad to have a great film like this to remind me why he was so wonderful. Watch it with your kids (or your horse).

The story of an old hard boot horse trainer with kids, and down on his luck. If you have ever had or appreciated horse racing you will appreciate the rags to riches storyline. It may be a little below "Seabiscuit", but not a lot. The story is the same one, except it is the quarter horse version. Well acted, correct racing terms and equipment, and nice racing scenes. Don't take my word for it, get it and make up your own mind.


A good movie for horse enthusiasts and most others. It's a horse racing movie, and it's a "little man gets his chance" movie, and it's a "how far would you go?" movie. Walter Mattau once again proves his adaptability as an actor. He fits right in as Lloyd Bourdelle, a Louisiana Cajun horse bum. This movie gives you a rare screen glimpse of Lousiana Cajun horse drag racing. He has a young quarter horse who is a top racing prospect. "had nothing but a filling station and a good horse." The Bourdelles seize the opportunity to make it big by taking the horse, Shadow, to Ruidoso, New Mexico, to get ready to run in the All-American Futurity. But how far will Lloyd go to win the fame and fortune? Also memorable from this movie are scenes of Lloyd spitting tobacco juice and waiting for his truck to start.


Walter Matthau can always improve a mediocre film, and this movie proves it. He turns in a very realistic performance as a small-time horse trainer and single father, not sugar-coating either role.

He can be, by turns, soft-hearted and doting, then iron-handed to his boys, and we can see the same dichotomy in his approach to horse training (we see that he doesn't want his young prospect racing horse overworked and hurt in small-time races, but he seems to be willing to risk the horse's life when he gets into the big time).

This is just one of Matthau's wonderful performances, and one that I highly recommend.


A wonderful family movie & a beautiful horse movie. 75+ %entertainment. Casey, Buddy, Kelly Marsh are very interesting and lovable characters. The horses are real beauties.

Has the horse racing as a backdrop for showing how luck is sometimes nothing but some good commonsense. Shows how kids can do stupid things for stupid reasons. Shows how adults can do stupid things for selfish reasons. The very realistically portrayed characters transform the unrealistic theme of the film into something everyone can relate to.

Andrew Rubin puts in a wonderful performance as Buddy,the sensible elder brother. Somewhat reminded me of Aidan Quinn(eyes, speech delivery, facial appearance).

Casey makes you fall in love with the character because of the earnestness. Sarah Blue is also nicely portrayed by Alexis Smith. Lloyd Bourdelle, the father, is played by Walter Matthau and he IS the character.

Though there is room for improvement in the movie, its a very enjoyable, feel-good movie.


This is a great family film dealing with down to earth people who enjoy their local interests dealing mainly with horse racing. Lloyd Bourdelle, (Walter Matthau) is a farmer who also raises quarter horses and has a young son named Casey Bourdelle, who loves horses. Lloyd is able to raise a full grown horse who he calls "Casey's Shadow" after his son and this horse breaks all speed records and is a possible winner of a million dollar race. Sarah Blue, ( Alexis Smith) becomes interested in this horse and offers to buy the horse for $500,00 dollars, however, this horse receives serious injuries to his legs and Lloyd receives a serious set-back which upsets the entire family. Walter Matthau gave an outstanding performance and this is a great film to view and enjoy.


I saw this on the Accent Underground release with the short films. I found the film at first boring and old fashioned and switched it off after the first hour - I was a little drunk and tired.

I went to bed, and no kidding I had a nightmare about this film within half and hour of falling asleep. I couldn't stop thinking about why, so I got up, switched the TV back on, loaded the DVD and saw the rest of the movie.

Well done Alex Frayne sir, you've managed to implant your film into this old, cynical movie goers head, and that takes doing. So 10 out of 10 to you.

I can't say I 'love' this film of yours, but it has made a lasting impact despite its flaws and low budget etc.


Talking about competition features at the Split Film festival, we have titles from all over the world. China, Korea, Canada, USA and Australia and many of these stories are indicating that the world is really valley of tears. Modern love...thats for sure.

In that movie by Alex Frayne, two younger married people and their boy are traveling from town to the coast to visit the grave and house of the man's uncle who raised him a long time ago and who died in mysterious circumstances. The coastal village seems like something in an American horror film where the village is bizarre and people are uncommon mutants. But episodes in Alex Frayne's pastorella can't be described as horror in the normal way. In fact this is an extreme interesting drama where we are seeing relationships and horror through flashbacks and much more. In this story and through obviously psychological facets of the actors we are shown a peep show of film some charmingly eccentric Australian film-making. Thus is the the case of Frayne. Always something new and fresh. Visual intelligence and unique sensibility of some Australian directors is astonishing good. Frayne's movie is super. There is something in the Australian landscape that shows their movies so special as we have see in FRAYNE's Modern Love and in RAY Lawrence movies Lantana and Jindabyne.

It seems it will be the same in future titles of Alex Frayne.


The most vivid portrait of small-town oddity I've seen in a long time -and I'm not just talking about Australian films. This piece of work seems to have been made "under the radar" and really, it's an entirely fascinating piece of work, that has a worldliness mostly unseen in recent Aust. film making.

At times it is rather slow and strange - it seems to meander hither and thither not really sure if it's a thriller or a 'head-movie'. But the stunning aspect of the film by Alex Frayne is its iron fisted, ruthless direction. It never wavers, it is highly controlled, precise and absolutely self-assured. The cinematography is some of the most artful, beautiful and lyrical I've seen. The sound is all psychological, the music builds the tension.

By the third act, the story is ramped up and episodes collide and converge - don't attempt to piece together the puzzle of the last 20 minutes, it's a bit of an impost - but by that time the film has you a bit of a trance, a sort of hypnosis, and you've been sold a riddle - that has no real answer.


We see a man move from city to "out-back" and change dramatically - his family asks questions, but he goes mad.

Strange, brilliant film for screening here in Israel. Wonderful locations, great actors, a film which masquerades as a "thriller" but which is more a case-study of madness in the lead man.

The film was way above the other films screened as part of the AICE festival here in Israel. Best of luck to the team who arrived at this film. It's a Grand Guignol, a little masterpiece of noir.

My only criticism which prevents a "10" is that the sound and the music is overpowering at times. It tends to get in the way of the images, which speak for themselves.


John and his wife Emily, accompanied by their child Edward venture from the comfortable environs of suburbia to the village where the husband spent some of his childhood. There has been a death in the family and John must begin proceedings to take control of an old ramshackle cottage, situated by the seaside and once inhabited by an old man who has apparently committed suicide.

Sceptical about the circumstances of the death, John divorces himself from his family and from reality, puts his own life in peril, and puts on the clothes of the old man who is now dead.

The film now changes - nothing is what it seems - the people of his past appear, in full Gothic/hillbilly glory - his wife worries about his mental state - and his son disappears into the reeds.

John finds that the old man didn't commit suicide, that his death is far more mysterious and strange. In a spine chilling finale, we learn that the events of the film actually never happened and that the entire narrative was imagined by the little boy, Edward, who is struggling to come to terms with his parents' divorce proceedings.

Modern Love is a macabre piece of high art cinema, a puzzling and perverse piece of pretentiousness, full of vague suggestion and unexplored red-herrings. It is humourless and seemingly unconcerned with current Indie trends which both validates its creators, but also renders it passé.

But the weaknesses of this Australian film are fully outweighed by its sheer muscular cinematic vision, its bloody-minded and uncompromising precision and its oddball Euro horror. The bastardry of script norms and lack of slick dialogue pales into insignificance against a backdrop of noir and a lead performance that needs to be seen to be appreciated.

One of the most aggressively weird Australian films in years.


This film really used its locations well with some amazing shots, dark and disturbing the film moves very slowly, but constantly keeps you watching. Modern Love worked well in the Gold Coast Film Fantastic program this year offering audiences a glimpse at an Australian Cinema that is usually neglected. Most importantly it is refreshing to see Australian cinema not taking on the cliché Aussie characters and story lines we have seen done to death over the years. This film would compliment any festival and will open debate after its screenings. The performances and characters are well developed, and the cinematography is fantastic. An interesting exploration into family relationships, and environments.


I caught this movie at the Glenwood Cinemas at the weekend as part of the Kansas International Film Festival, which, as usual has provided a thoughtful and eclectic sample of world cinema.

I have been keen on Australian Film for a number of years, so was pleased to learn that this film was included, and I was certainly not disappointed.

Superbly shot, firmly directed, it's an eerie tale of one man and his journey to the heart of darkness, as it were. It reminded me a tad of Lynch's Wild at Heart, it has that strange madness in it, but I was glued to the movie for other reasons - namely that it presents a portrait of Australia which is..well, very believable.

I have vacationed to the Land Down Under a number of times, once in the 1980's and again about 7 years ago with my wife.

I don't wish to go to great lengths explaining my vacations, but the director Frayne appears to have a grasp on much that I find so odd and eccentric about Australia, a country that is responsible for the extremities of, say, Nick Cave on one hand, and Steve Irwin (the 'Crocodile Hunter') on the other.

One incy wincy whinge - - I would have preferred even more of the 'unknown' Australia. Much more in fact. But I also realise that there's only 1 and a half hours to do it all in... 'Sigh.'

Overall though, this movie is very, very accomplished.


OK. A warning for anyone out there who is a parent or guardian. Be careful about who you see this film with - ie - DO NOT TAKE KIDS TO SEE THIS FILM. I'll explain why.

1 - the title is misleading and the film has nothing to do with romance - I assume this was fully intentional on the producers behalf, but is annoying 2 - the film itself is really very very disturbing. I have some problems - first is the fact that the film is neither violent or sexual and therefore is not a 'horror film'. But it IS a very disturbing film ,and involves a child and his parents, and a small town.

OK, it boils down to this. The film is not suitable for minors, because it contains sequences and images that are unsettling and would be confusing to a child. Is has a bizarre quality to it, and its ONLY because it has a child in it that makes me feel its unsuitable. As a parent myself I feel strongly enough to want to tell people because I read only the other day that it is having a release in theatres.

I hope im not offending the film makers by saying this, but I think its my right, because its getting a release, and has an M rating only.(because its not violent or sexual). Just weird and unsettling but pretty good in and of itself.


UK-born Australian helmer Alex Frayne calls for attention with his strange, necessitating a meticulous read, visually stunning Modern Love (2006). Following the steps of a man incapable of controlling a drastic personality change spurred by the death of a close relative pic offers a fascinating examination of human psychology. Distributed by Accent Film-Australia.

John (Mark Constable), his wife Emily (Victoria Hill), and their son Edward (William Traeger) arrive in a small Southern town to take care of his deceased uncle's (Don Barker) property. While Emily and Edward check into a local hotel John begins to question the locals about Uncle Tom's death - some say that he committed suicide, some are unwilling to talk. Puzzled John comes up with a theory of his own - Uncle Tom is alive and well, hiding in the nearby bushes.

If not for the occasional lines of dialog used to ease its heavy atmospheric tone Modern Love could have been easily mistaken for a Sokurov film. Shot with a 16mm camera its washed-out color scheme is strangely evocative of the Russian director's reflective forays into human agony. Perhaps it isn't a coincidence that it was at the Moscow International Film Festival where Modern Love had its premiere.

Looking under the surface of this unique collage of intoxicating visuals however reveals a slightly different picture - while Sokurov's films tend to remain painfully intimate, to a point where they intentionally detach the main protagonists from the surrounding environment by blurring everything into a large splash of the director's preferred yellow, Modern Love very much feeds off the Australian countryside. John's gradual psychological transformation is dependent on it and the more the story progresses the more it becomes obvious that nature was an integral part of Frayne's vision.

In Sokurov's The Second Circle a young man returns to the Russian countryside to bury his deceased father. In the shack where the old man once lived everything is covered with dust. He gathers the few old clothes scattered around and places the body of his father in a coffin. Then he bids goodbye and buries it. The rest of the film is a prolonged reflection on the collapse of the Soviet system, the loneliness and dissatisfaction many were left dealing with.

In Modern Love, somewhat ironically, love is nowhere to be seen. On the contrary it is pain, loneliness, and dissatisfaction with "modernity" that suddenly invade John's life. Unlike The Second Circle however here the main protagonist has the opportunity to re-embrace his modern life. His wife and son await him, yet, he walks away. Slowly but surely the present begins to disintegrate under the weight of a somewhat confusing past.

I doubt Frayne intended for Modern Love to be so strikingly similar to what Sokurov did in The Second Circle. Yet, the pacing, and in particular the puzzling framing, are precisely what transforms this film into a near meditative experience - a difficult and enormously brittle approach to deconstructing human psychology the two directors have mastered to perfection.

Mark Constable delivers a top-notch performance as John adding even greater depth to his highly challenging character. His facial expressions are outstanding. Both Victoria Hill and William Traeger match perfectly with their performances pic's tense visual style.


Received this DVD from the ACCENT range which is a label which specializes in art-house flics, they released Irreversible and a range of Bergman's opus.

The thing that struck me about Alex Frayne's strangely titled film MODERN LOVE is that it is an impeccable film that breathes with perfection and vision, a film that takes us into the mind of Mr Joe Average, replete with voices in the head, visions, and madness. It's set in rural redneck Australia, the film doesn't trivialise or praise the folks like so many Australian movies. ie our films are full of "loveable rogues" or people with "hearts of gold" etc etc etc.

Not in this film. The spirit of Stanley Kubrick looms large here, it's not flawless, but has a mesmerising attention to details, a romantic streak and a mood that is bracing if not embraceable.

Minor quibbles...the transfer looks faulty - front credits were sliced, they don't fit in frame.

Also, one of the short films is corrupted, it stops half way.


I saw this film at the 3rd Adelaide International Film Festival at the Palace cinemas, and was totally switched onto it in the opening five minutes. Thanks goodness for a film that ignores all the rubbish we often see in Australian films that seem to revolve around a)race b)gender and c) class, in favour of er...dare I say....jolly good cinema. The producer, a shy, slightly eccentric chap called Alex Frayne introduced his film, made with a bunch of his mates near the town he spent much of his childhood. Apparently he's spent much of the last year traveling the world with the film, mostly in Europe. The world the film creates is both brilliant and arty, not least because of strange and disconcerting editing style, the Gothic characters, and the surreal sense of time and place that draws viewers into its nightmarish realm.

The producer returned for the Q + A after-wards. Someone asked him what his inspiration was - he replied "South Australia." Hear hear! Another asked him what a 'day in the life of alex' entailed. He replied that he drives an old Ute, that he has breakfast at the same table at the same restaurant that he's jolly well eaten at for the past 8 years! and that he plays piano which helps him to think. He doesn't drink booze and plays cricket once a week. Then the Q and A session ended abruptly because of the next film screening - so my thoughts are that for the next festival, they need to extend the after film sessions.


I saw this at the BendFilm Festival Friday amid an unsettled crowd of people, not helped by a poor decision by the planners of the event, who chose a totally inappropriate short film to precede the movie. And it really threw the audience when Modern Love came up after a light, whimsical short (name I forget).

People!!! It was really silly to mix this short with Modern Love - which is a serious drama movie. A film film.

So the audience gets the teaser which is a comedy and then...Modern Love. Hmmmm. Modern Love, despite my reservations (strange ending, a little too tangential)needed a short film that was commensurate with it's oddball strangeness, so my advice to the programmers for next year is to take more care planning the show.

The folks watching Modern Love really just didn't know what had hit them, - they were led up the path and this is not their fault.

Modern Love has some superb performances which play well against the tangential meanderings of the film - a film that its maker seems to have 'wondered out loud' rather than executed in the normal way a film is scripted and shot.

Too bad the audience was misinformed. Wrong session placement, wrong short film, wrong approach by the well intentioned programmers, who, despite good efforts, need to see a lot more films and travel to some other festivals.


Jingofighter I agree with some of your comments, but I have to disagree on a couple of things. First, this film is nothing like THE CARS THAT ATE Paris. Not IMHO. Nothing like it.

I think the film had elements of surrealism, but I think the basic approach of the film maker is not "surrealist" per se. therefore its not really like CARS Paris, I think more like a weird Euro work, with some scenes bearing the hallmark of "wierd" not surreal.

Secondly, I think the music by Heuzenroeder is brilliant. They used whistling, that old sound from Country and Western records, and its waaayyy better than most Aussie films which usually team the film maker up with a dumb sounding Indy band that the company wants to push.

As for the name of the film - I don't know why it's called Modern Love, I was kinda hoping for David Bowie to appear dressed in drag and lipstick... opps I'm starting to show my age.


I saw this film via one of the actors' agents, and it surely conforms with a great deal that comes out of Sth. Australia in terms of the overall *tone,* which is rightly dark and moody.

I thought the little boy in the film was excellent. Mostly kid actors are *hammed up* and embarrassing but not in this case. He was really very good. In terms of the *surrealism* thingy mentioned by jingo, well, I just think this film is plain 'weird.' It's a real weirdo film, with weirdo locations, storyline, weird stuff going on the whole time. But 'good' weird as opposed to 'bad'.

Its hard to think of other movies like it, but its not at all like CARS ATE Paris, maybe more like a REPULSION, but actually I think more like a Hammer movie from the 60's. Its certainly has an interesting mind working behind it.

JINGO, My question is also about the title. Why Modern Love?? Anyone? Also, jingo, what did you mean by "god Forsaken" when you were talking about Australia, hmmm? Just curious