You won't be disappointed!

The Worst Film Ever

Load of rubbish!!

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

This, and the previous few reviews I've looked up, have (sadly) convinced me that IMDb is no longer a credible source for judging 'review scores'.This films absolutely nails it! If you've reached 45yrs old, (as I have), and made a life, and ruined a life...and made others' lives...and ruined others' lives... then your rating is valid. If, aged 45, you choose to rate this film less than 9 then you've wasted your one single life of 45yrs.I haven't wasted mine. I've stared down loaded gun barrels into the cold eyes of drunken robbers. I've loved. I've dashed myself against the madcap rocks of tear-soaked love. I've hurt. I've laughed at those who have been weak enough to dare to dash themselves against my steel resistance...and, in time, life has taught me through my heartfelt pain, my utter, utter, folly.I've had it all whilst blocking what I deep down knew was love. Yes, true friendship survives and matters...but the beating heart of true love has fallen...NO!... been pushed... through my, cursed angry fingers. It is my curse and one I will take to the grave.Every scene in this film is acutely 'spot on'. The acting is without fault. The interwoven lives are 'spot on'. The tale is without fault....as I said, if you rate it less than 9, the weakness is your lack of "life experience". The failure is yours, and yours alone.

I gotta say I really, really liked this picture. Now appreciate - I'm an iconoclast and whenever I smell studio BS promo I stay clear away. But this picture has none of this smell (cause it's an indie) but had plenty of pleasant aroma. It had a number of story lines, a number of twists and surprises, a very attractive cast and they all acted well. The plot... could it have been tighter? I suppose. But the apparent joy of the performers lead this picture into high level territory. Hopkins, in his AA soliloquy, was as brilliant as an actor can be. Absolutely authentic and believable. Maria Flor is stunning as a young lost waif looking for love in all the wrong places and Ben Foster as a sex offender trying to control his urges is exceptional. There are more moments of unanticipated joy in this picture than there are expected times of sadness. I recommend this film and will watch it again.

360 is all about circles (hence the title) – the circle of life; circles of deceit; the circles in which people move; the circular nature of actions and consequence… all conveyed by way of a circular narrative. The cast is very strong and it's no surprise that the film is excellently performed across the board. Sadly, the plaudits end there… away from the strength of the acting there's really not much left to admire. Too much pretentiousness, irritating over-editing, an excessively leisurely narrative which doesn't really go anywhere, jerky switches in mood and style – there are simply too many shortcomings for this to be anything more than a minor curio. There isn't a plot to speak of, more a series of mini-plots which interweave from time to time. The one link between the various stories is that they all focus on characters who are wrestling with some sort of relationship problem, be it infidelity between husbands and wives, disapproval regarding the actions of a loved one , or a craving to reconnect with family members who are lost (literally and metaphorically). The film is more interested in characters than story; an unusual approach, yes, and arresting for a while, but ultimately not fulfilling enough to carry it for almost two hours.Director Fernando Meirelles has done some very good films (City Of God, The Constant Gardener for example) so one could be forgiven for expecting big things of 360. Meirelles gets great performances from his actors, as mentioned already, but struggles to mould the unwieldy narrative into any kind of shape. The film is only sporadically effective – a flash of tension here, a well-written line of dialogue there – but overall it drifts along rather tediously, much like a rudderless ship. Between these occasional glimpses of what-might-have- been, the lack of purpose is painfully evident and clumsy efforts are made to disguise it with gimmicky editing and pointless pauses that are presumably meant to be 'deep' and 'meaningful'. These 'interlocking- story' films seem to be becoming increasingly popular of late, so its some relief at least that 360 doesn't go down the horribly schmaltzy route of such unbearable slush-fests as Valentine's Day or New Year's Eve. If nothing else, this film doesn't go in for absurdly pat resolutions wherein everything works itself perfectly and everyone ends up living happily ever after with someone else, which is where these other sickly sweet portmanteau films go wrong. 360 concludes on a hopeful note for some of its characters, but for others things don't work out or, in some cases, they work out only partially and at a price. In the final analysis, 360 is a very average film with delusions of greatness. Watch it for the acting by all means, but if it's a powerful emotional drama you're seeking you'd be better off searching elsewhere.

It is easy to see the appeal of a classic work, like "La Ronde" by Arthur Schnitzler, to be the basis of a film project. The fact that we, as humans, are more interconnected than we realize, is a theme that appeals to filmmakers all over the world. Unfortunately, this film was done better before by Max Ophuls in France.This new retelling of the play was the work of the ambitious team of Fernando Mirelles, its director, and Peter Morgan, the screenwriter. For lack of imagination, the production goes all over the world in order to make its point. The action takes the viewer from Vienna, to Paris, to London, to Denver, and Phoenix, and back again. The film kept reminding this viewer of Robert Altman, a genius, in comparison, who could combine a lot of styles and situations into an end that, at least, made sense and was more palatable to audiences.That is the basic problem with "360". Most of the stories do not connect, or get resolution, in most cases. There is a lot of talent in the film, poorly depicted on the screen. Take the cases of Jude Law's businessman prevented from having sex with an aspiring prostitute, or the grieving Anthony Hopkins coming to identify the body of who can be his runaway daughter.The large cast is easy on the eyes, but in the final analysis, there is no substance to most of the vignettes. One can only recommend a viewing of the Max Ophuls' masterpiece "La Ronde".