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After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
Director:
David O. Russell
Stars:
Bradley Cooper,
Jennifer Lawrence,
Robert De Niro
A middle-aged husband's life changes dramatically when his wife asks him for a divorce. He seeks to rediscover his manhood with the help of a newfound friend, Jacob, learning to pick up girls at bars.
A struggling lawyer and volunteer wrestling coach's chicanery comes back to haunt him when the teenage grandson of the client he's double-crossed comes into his life.
Although living a comfortable life in Salon-de-Provence, a charming town in the South of France, Julie has been feeling depressed for a while. To please her, Philippe Abrams, a post office ... See full summary »
A novelist struggling with writer's block finds romance in a most unusual way: by creating a female character he thinks will love him, then willing her into existence.
High-strung father-to-be Peter Highman is forced to hitch a ride with aspiring actor Ethan Tremblay on a road trip in order to make it to his child's birth on time.
Director:
Todd Phillips
Stars:
Robert Downey Jr.,
Zach Galifianakis,
Michelle Monaghan
In Buenos Aires, the bitter and methodic Roberto is a lonely man and the owner of a hardware store. Roberto collects bizarre worldwide news in an album as a hobby and his acquaintance Mari ... See full summary »
Director:
Sebastián Borensztein
Stars:
Ricardo Darín,
Muriel Santa Ana,
Ignacio Huang
In Hamburg, Zinos has a restaurant serving poor-man's fare; he gets by, but his girlfriend has taken a job in Shanghai, he's hurt has back and can't cook, his feckless brother can be on daily parole from jail only if Zinos employs him (though his brother doesn't want to work), a school acquaintance wants to buy the restaurant property, and the tax authority and health inspector are on his case. Zinos hires a temperamental chef and loses all his customers, signs a power of attorney giving his brother full authority at the restaurant, and buys a ticket to Shanghai. Is this a recipe for disaster? Written by
<jhailey@hotmail.com>
The actress who played Nadine's grandmother (Monica Bleibtreu) in real life was the mother of the actor (Moritz Bleibtreu) who played the role of the brother of the main character in this movie. Monica Bleibtreu died in May 2009 and is remembered in the closing credits. See more »
With films like Against the Wall, Crossing the Bridge and The Edge of Heaven, Faith Akin has set a high aesthetic bar at which his newest work inevitably stumbles. Which is not to say that the film is a failure by any means, simply that it must be judged as a minor work in this impressive directors oeuvre.
Set in Hamburg's seedy demi-monde, the film relates the fortunes of the Soul Kitchen restaurant and its unhappy-go-lucky proprietor, with a protein-rich narrative arc from wretched normality through multiple adversities to a slightly more hopeful normality. And while the restaurant moves up-scale gastronomically the story remains comfort food throughout, providing plenty of opportunities for comic set pieces and tragi-comic misunderstandings.
What we end up with is a patchwork of scenes, connected by a narrative strand that connects property speculation, prostitution, drugs and music. None of it quite makes sense, but this is a film ruled by the heart and not the head. What it lacks in precision it makes up for in warmth.
In general the performances are impressive, and the unavoidable Moritz Bleibtreu (who seems to be compulsory casting in any German film worth its salt) is particularly engaging as the protagonist's jailbird brother, constantly swinging his prayer beads as hustles.
The film's lightness of touch is perhaps its saving grace: the music complements the story without dominating; food and cookery play a subordinate, if enjoyable role, but never do we get too bogged down in the niceties of nouvelle cuisine. And this must be the first major film in which Skype plays such a major role. Product placement perhaps but very realistically done.
Another enjoyable aspect is the way in which the interplay of cultures
Greek, Turkish, German, whatever - is handled in a no-nonsense
workmanlike way. Perhaps it takes a German of Turkish extraction to do this. My feeling is that other German directors would be more sheepish in their handling of these issues.
In conclusion I'd say that the film is good, not great, and shows that Faith Akin can also make a gentle, feel-good comedy without compromising his higher aesthetic achievements.
14 of 23 people found this review helpful.
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With films like Against the Wall, Crossing the Bridge and The Edge of Heaven, Faith Akin has set a high aesthetic bar at which his newest work inevitably stumbles. Which is not to say that the film is a failure by any means, simply that it must be judged as a minor work in this impressive directors oeuvre.
Set in Hamburg's seedy demi-monde, the film relates the fortunes of the Soul Kitchen restaurant and its unhappy-go-lucky proprietor, with a protein-rich narrative arc from wretched normality through multiple adversities to a slightly more hopeful normality. And while the restaurant moves up-scale gastronomically the story remains comfort food throughout, providing plenty of opportunities for comic set pieces and tragi-comic misunderstandings.
What we end up with is a patchwork of scenes, connected by a narrative strand that connects property speculation, prostitution, drugs and music. None of it quite makes sense, but this is a film ruled by the heart and not the head. What it lacks in precision it makes up for in warmth.
In general the performances are impressive, and the unavoidable Moritz Bleibtreu (who seems to be compulsory casting in any German film worth its salt) is particularly engaging as the protagonist's jailbird brother, constantly swinging his prayer beads as hustles.
The film's lightness of touch is perhaps its saving grace: the music complements the story without dominating; food and cookery play a subordinate, if enjoyable role, but never do we get too bogged down in the niceties of nouvelle cuisine. And this must be the first major film in which Skype plays such a major role. Product placement perhaps but very realistically done.
Another enjoyable aspect is the way in which the interplay of cultures
- Greek, Turkish, German, whatever - is handled in a no-nonsense
workmanlike way. Perhaps it takes a German of Turkish extraction to do this. My feeling is that other German directors would be more sheepish in their handling of these issues.In conclusion I'd say that the film is good, not great, and shows that Faith Akin can also make a gentle, feel-good comedy without compromising his higher aesthetic achievements.