Diagonaldi Very well executed

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Yash Wade Close shines in drama with strong language, adult themes.

Asad Almond A clunky actioner with a handful of cool moments.

Breno Bacci As a fan of Monty Python, I've watched every movie directed by either Gilliam or Jones, and one day I will manage to watch every single movie featuring them, John Cleese, Eric Idle, and the other guys. "Personal Services" was a bit hard to find, and although I've ranked it slightly below average, the experience of watching it was actually quite a pleasant one.Since it's based on a real story, I won't waste any time mentioning the plot in my review. The storyline is indeed engaging, and as for the dialog, I believe a decent effort was made by both the writers and the cast. Altogether, Jones' comedic genius is visible and works in many scenes throughout the movie.However, this was one of the first - if not the first - directing enterprise for Jones after his work with Monty Python, during which he shared directing duties with Gilliam. It's interesting to notice how the director attempts to forge his own style, specially in this case where he was a part of a big ensemble of extremely funny people.Jones managed to mature his style over his next films, to the point I'd say his last one, "Absolutely Anything", is perfect almost in every way. This movie is the beginning of that and, although it's not brilliant, it's entertaining and worth your time. In some instances it almost looks experimental, like something out of film school. But even when it looks like that, it still feels better than many movies with terrible plots or solid directing. Sometimes a funny person doing a sloppy job directing a good story is enough to make a movie watchable. At least I think it beats renowned directors showing off their Cinema credentials, with an uninteresting plot.If not anything else, this movie helped me solidify this notion: there is probably nothing more important in Cinema than a good storyline.

randy filkirk This film is a forgotten British Masterpiece, if only for its portrayal of something we still find difficult to come to terms with now in 2016. Everyone has a little inside them of what is shown here, awakening that, sometimes is beyond our own choices, but for us to begin to understand what makes people tick, this film really needs to be watched. There is a little nudity, but more important, there is good all round acting and a solid belief when you reach the end that your time has not been wasted. If you can indeed find a copy i fully recommend you open a bottle of wine, get out the popcorn, close the curtains, lock the door, put out the granny, and enjoy.

Michael Neumann The story of Cynthia Payne (London's notorious 'Luncheon Voucher Madam') could have easily been made into a tawdry little sex farce, but underneath all the kinky detail is a film aspiring toward something more than just another naughty biography. Julie Walters' vivid performance, bristling with barely suppressed nervous energy, creates a memorable portrait of a working class girl who, to make ends meet, opens a cheerfully uninhibited suburban brothel catering to the milder perversions of errant older gentlemen: costume fantasies; flagellation; transvestitism, and so forth. There's plenty of wit (much of it with a sharp edge) in David Leland's screenplay, which despite its forthright lack of inhibition is remarkably tolerant of (and even sympathetic to) the shortcomings of its characters. Names have been changed to protect the innocent (and hide the guilty), but the facts are essentially true (despite a pair of disclaimers) and Terry Jones' direction shows more tact than otherwise might be expected from a former member of Monty Python's Flying Circus, a troupe never known for their subtlety or discretion.

Woodyanders Feisty and resourceful waitress Christine Painter (splendidly played with earthy vigor and steely resolve by Julie Walters) turns to prostitution to support herself. Christine eventually becomes the madame of an immensely successful bordello which happily indulges the kinky carnal whims of an illustrious middle-aged clientèle which includes such respectable folks as judges, bankers, and members of Parliament. Director Terry Jones and screenwriter David Leland concoct a bawdy farce which manages to be quite funny and always engrossing without ever getting too vulgar or sleazy. Instead they treat the sordid subject matter with admirable wit, taste and sensitivity. For example, the clients just want to be accepted and tolerated as the blithely dirty old men that they are. Moreover, there's a surprising and even touching sense of compassion and humanity for the seedy main characters and their seamy profession. In fact, the topic of sexual deviance in its many permutations is handled in a commendably matter of fact way. Walters simply shines in her role; she receives first-rate support from Shirley Stelfox as brash tart Shirley, Danny Schiller as wise old transvestite pal Dotty, Alec McCowen as jolly regular Wing Commander Morten, Tim Woodward as jerky vice cop Timms, and Ewan Hooper as her disapproving father Edward. Well worth seeing.