ThiefHott Too much of everything

StunnaKrypto Self-important, over-dramatic, uninspired.

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Cody One of the best movies of the year! Incredible from the beginning to the end.

mario_c This movie is a bit weird, but it's a nice multicultural experience though. It's about a man and a woman which are French but have Algerian routs that go on a journey (on a walk trip!) to find out these routs in Alger. They cross the south of Spain and meet many people, from Arabs to Gypsy. This film is very interesting from the cultural point of view, but is a bit weird sometimes, because we don't know anything about these characters, who are they, where they came from. Just during the trip we start finding out something about them, but even so many questions still open after the movie ends. It's an artsy movie, that's for sure, with a great cultural and musical impact, but it gets a bit strange and boring at parts. The plot could have been better, but I'll score it 7/10 because of the great soundtrack (which has Flamenco, Arab and Electro/Techno music), the very weird tribal-ritual scene (near the end), and also the artsy cinematography.

talltale-1 EXILES is a Tony Gatlif fantasy, complete with lots of music and dance, of what it might be like for a young French couple of Algerian roots, to hitch their way from France back to Algeria (for most, these days, it's the other way 'round). The two seem not to have much or any money, but then they do, but then they don't. They occasionally work to pay their way (with a rather laissez-faire attitude, I must say), screw (not always with each other), and have beaucoup psychological problems. For a couple who carries no baggage, there is way too much emotional baggage here. That's usually the mark of a young filmmaker, but as Mr. Gatlif is nearing 60, I guess we'll have to chalk it up to something else.I call his film a fantasy because, try as I did to believe these characters and their situation, I couldn't. Or, if they ARE believable, then they are also sometimes simply too stupid to be endured: the couple sneaks aboard a ship without knowing where it's going; they haven't bothered to bone up on Algeria enough to know that certain of its borders have been closed for several years; worst of all, they have no clue that women in Muslim/Arab countries are expected to cover themselves (the year here is 2004, well past 9/11/01, and these are Frenchies, for Christ's sake: If they are not used to Algerians, who the hell IS?). On the plus side we have a lot of color, music and dance, nice cinematography (dig that succulent orange near the finale) and the gorgeous Romain Duris (most recently of "Russian Dolls" and "The Beat My Heart Skipped"). Mr. Duris, hirsute and slender, appears fully nude, front and back, in a rather lengthy shot at the film's beginning; this may be more than enough to induce some viewers to stick around. Did I mention that the film deals in fantasy?

k-kimberley May contain spoilers. EXILS Two people searching for their roots? Thats what I expected, and instead it appears more to resemble a road movie.Interesting though, as the somehow insane story progresses, and what fascinated me about it: The two main Characters of Zano and Naima find their INNER roots: through the people they meet, their ways, looks, music and rhythms, in a way that differs from their expectations, as it differs from that of the spectator. Zano, the Frenchman is the one to suggest this trip to Algeria. Born in Algeria of french parents who remained very french all their lives -to judge by the photographs Zano is shown of them- feels more and more french the farther he gets from that country. Naima on the contrary, the "real" Algerian? possibly with Gypsy roots, laughing at first at the idea of going to Algeria and resisting all the growing evidence of her non-french roots, is eventually penetrated to the core in the trance ritual.This sequence may be long but is somehow so genuine, that instead of boring the spectator , draws him in with a similar force that conquers Naima.One of the most genuine culture presentations seen in a Movie, revealing and exciting and maybe a contribution to inter cultural understanding and acceptance.

U92 A young couple, Zano (boy) and Naima (girl), of Algerian origin return to Algeria to get a sense of their ancestry and family history. It's an incompletely told story, as bumpy and random as the trip it describes. I can't say whether that was deliberate.SPOILERS FROM HERE ON: From the lingering opening shot of Zano's thoracic back region, accompanied by a headbanging, shouted, angst-ridden soundtrack vocalised by someone I could only imagine had not washed in a month and was recording this while angrily waving a picket sign in front of a government office, I found it full of forced significance/symbolism and gratuitous, pretentious art shots, as well as containing clichéd lines, soap-operatic plot twists, and overused, unconvincing acting devices reminiscent of "Closer". It's the sort of movie ... er ... FILM you're supposed to go out afterwards and discuss seriously over cappuccinos, using sophisticated words like "persiflage", "paradigm", and "transcendent", so everyone knows what a deep thinker you are.For starters, I found it difficult to like either one of the couple. I'm not even sure the viewer is intended to like them. I think Zano was meant to be brooding and profound and Naima wildly sensual; however, to me they came off as sulky and slutty/borderline insane, respectively, and both far too self-absorbed to care about.Zano's beard was neatly trimmed throughout their rough, dirty, and water-deprived adventure, and their wardrobe and bedding were far more voluminous than the single bag he had slung over his back could ever realistically hold, not to mention that their clothes were always clean and pressed. Naima got away with far more than she really would, wardrobewise, in a country where women are expected to be covered from head to toe.I couldn't help but be amazed at the privacy they enjoyed for their tryst in the orchard. Who knew that orchards, in the middle of a working day during picking season under the watchful eyes of a critical supervisor, were so private? Earn $$ while you date, away from prying eyes; free food included. I'll be washing my fruit more carefully from now on.The cinematography is amazing, although its subject matter is often depressingly squalid.Barring the opening number, the soundtrack was mostly excellent if you like raw World/fusion music (I do) and both story and characters became more compelling and likable toward the end, after they arrive in Algeria.The climax scene, depending on your taste, either goes on for far too long or represents a truly interesting, in-depth example of Zar, a North African version of exorcising personal demons via a major, rhythmic, music-assisted, full-body, trance-inducing tantrum. I didn't time it personally, but read somewhere that it goes on for some 10 minutes and that sounds about right. I found the community support for the dancers incredibly moving and just sat there thinking "I could use me some of that." Actually, I think a lot of people could. This scene, along with Zano's earlier visit to his parents' former home and the reception he encountered there, were the only scenes in Exils that truly touched me.It struck me that Naima's nuttiness through most of the film seemed to be an unconscious attempt to enact a Zar ceremony. She certainly seemed a lot saner, cleaner somehow, after the Zar, as did Zano.I think Zar is maybe what raves try to be.