the audience applauded

Such a frustrating disappointment

Don't listen to the negative reviews

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

I honestly didn't have a clue what the characters said to each other in this, it was like they were mumbling throughout the whole time. What I'm meaning here is that everyone didn't speak clearly or seem interested in being involved with the movie at all.I think it would be better to not think about the story line and concentrate more on the music, this is all about Disco right?I mean, use that genre to play the type of music in which it brings us. Nothing much I can say about this film but I thought the story line was pretty boring and bleak. The songs were good at least to match the films title....

You don't need to have lived through the 1970's to enjoy this film, and unlike a lot of the other Disco-era films, this picture follows a group of working professionals who not only use Disco as an escape from their mundane lives, but also as a mask to hide behind. The film isn't as much about the end of a genre of music as it is the end of a generations youth. The final sequence of the film depicts our ensemble coming to the realization that they're old because they've officially lived through a popular-art movement.Overall, the comedic touch of the film stems from it's straight faced dry sense of humor that has become a staple of Whit Stillman's comedy brand. Chris Eigeman gives a fantastic performance, and Kate Beckinsale is that best friend that you love to hate.Overall this is a most see and a wonderful film!

Disco was a high energy, drug fueled, frantic, primal experience that was beyond rationality, that defied nature, that reveled in absurdity. But this film is a bland, somber, melancholic chat fest that demands that its audience forget everything its ever heard about or seen of or actually experienced at a disco. It's beyond stupid. The whole premise is flawed, that disco died in the early eighties - it didn't, it mutated into an even more frantic, outrageous club scene. But this true fact doesn't deter the film's creators from their inaccurate pointless fantasy.A couple of discos may have closed down or changed style in Manhattan but clubs where people danced were actually even more popular and numerous. The celebrity glitz factor may have faded, but the intense social scene was charging ahead. Cocaine was everywhere by the bucket fulls at the time, not just up Hollywood's noses, and the nightlife was running hot on its power. It was insane, deranged, unbelievable. But this dumb flick wants you to believe that a whole world was collapsing, that an entire generation of party animals quickly went extinct. Wrong.If this movie is meant to be a comment on the virus like spread of Reagonomics into every aspect of American culture throughout the 80s, then having a grand Disco as the setting pretty much mandates that the film be a broad parody. But it isn't, it's just a self conscious exercise in style. But even the style is wrong. Power suits and ties wouldn't be fashionable till the next decade. No real urban hipster in the 80's would be seen dead in a pinstripe. Designer jeans were what the heavy weights were sporting, even the upper crust. So the "look" is off, which leaves the substance to carry the project. What substance there is is vacuous, vapid, and very annoying.The dialog is all stilted, awkward and overly literate - unnatural. It's like listening to a lit student read his or her first script. The acting is uneven and unfocused. No one seems to know what the point of this movie is, and all the talk and gestures don't add up to anything greater than themselves. It's just a series of smugly clever comments and shallow observations, but there's no direction to any of it. Chloë Sevigny is interesting to look at for a little bit but her "acting" is so flat and boring. Her partner, Kate Beckinsale, tries to do pump some life into the lame words she's given but there's only so much she can do with this corpse of a script. As wrong, and absurd, and demented as it was, Disco was a massive whale of an international phenomenon, but you'd never know it from this puny limp fish of a failure.

Any film that plays the Andrea True Connection disco classic song "More, More, More" ... twice ... can't be all bad. The film's impressive, mostly disco soundtrack is by far the best element of this film.The story is razor thin. Several attractive, twenty-something, upwardly mobile preppies shuttle back and forth between work experience and nightclub. They are employed variously in advertising, book publishing, and law, and are preoccupied with the usual concerns: friendships, sex, romance, philosophy, and job prospects. The script's dialogue is voluminous, and most of it rather vacuous, which matches the characters.But story, plot, and characters aren't really what this film is about. "The Last Days Of Disco" is dedicated to that era in American history sandwiched between the turbulent 60s and the materialistic 80s. Most of the plot takes place at a Manhattan disco, a cavernous, rather opulent, room where an eclectic mix of people dance disco, surrounded by strobe lights and confetti. Here, the ensemble cast order their favorite drinks and chitchat about this and that, their web of social connections a tad confusing at times.I liked the casting of not-so-well-known actors. But some of their performances were a bit wooden. Costumes and production design mirror the era glitter quite well. This is a big-budget production.A lot of viewers will find the thin plot annoying, and the shallow, self-absorbed characters off-putting. But as nostalgia, "The Last Days Of Disco" works, helped mostly by those terrific songs. If only the soundtrack had included "Fly, Robin, Fly".