A Film Year Full of Escapism, Flat in Attendance
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Despite a modest increase in 2007 box office receipts, moviedom is trudging into January with a droop in its shoulders.
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The familiar visual signposts of alienation are spiffily arrayed in Siegrid Alnoy's handsome but empty film debut.
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The actors do well, but Shaad Ali's film is nothing more than a packaging.
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Most years look good on paper before they get underway since Hollywood always fields enough high profile movies to make any year sound promising.
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Put three old friends in a  convertible for a cross-country road trip to a loved one's  funeral, and what do you get? Very few surprises, in this  feel-good fluff that, despite offering nothing novel, could do  well with older audiences who rightly feel that too few films  are being made with them in mind.
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Despite its rich veins of inquiry, the installation, which invites viewers to enter David Lynchâs film, feels sterile and flat.
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It was a year of rampant uncertainty for the unsuspecting couch potato.
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It has been well recorded that the mid-nineties are best known for sudden popularity of independent cinema, but independent from what? The term "indie" is as slippery when applied to films as it is to music. The studio at the vanguard of this "revolution" was Miramax, which was long a subsidiary of Disney, and as for the "revolution" itself, it unleashed more painful and derivative Pulp Fiction clones than it did anything truly revolutionary. It was bled dry, turned inside out, repackaged, and sold back to the masses until it became the paradigm of unhipness. This seems to be the nature of all revolutions, from the Soviets to the Sixties; the bullshit always comes full circle.     While it's easy to be cynical of all so-called revolutions in hindsight, what one can't be cynical about is the intense enthusiasm audiences had for the so-called independent cinema of this era. To every person who ever dreamed of being in the director's chair, it seemed like all one needed to have the new hit movie was a vast knowledge of pop culture, the ability to write pages worth of rambling dialogue, and a Visa card.
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Made on a measly budget ($130,000 US), this bare-bones thriller with no stars and little in the way of Hollywood-style shocks took a big bite out of audiences at January&#39;s Sundance Film Festival  and for good reason.
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Geleya may well appeal to the young and the mass audience. In a nutshell the film is high on technical aspects, but low on content -- a clichÃ©d fare with some entertaining moments.
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The Nicolas Cage starrer does not have many hair-raising sequences.
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A wave of apocalyptic releases such as 'I Am Legend,' 'Cloverfield,' and 'The Happening' are the unexpected 'feel good' films of the year.
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Plot isnât everything, but it is something, and in this thin drama its absence or at least its small contribution, is noticed.
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The really surprising  thing is that no one has made this film before.
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Cinema audiences in the UK fall for the second year running despite an increase in the number of films shown.
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"A Good Year," an innocuous, feel-good movie that reunites Russell Crowe with the director Ridley Scott, is a three-P movie: pleasant, pretty and predictable. One might add piddling.
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Costarring Dimple, the film is a loser from Day 1.