As Good As It Gets

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

By the time the dramatic fireworks start popping off, each one feels earned.

first i really disappointed after watching this movie.. what i aspect to be a great movie like its predecessor Green Street Hooligan melt like an ice cream.. green street hooligan far more interesting than this,the plot cover every way,from life ,pride, conflict, fight, brave and humor.. i think the main plot here was about the football fan life but its failed as it was too straight forward,directly into some kind of hooligan-wannabe but in immature way.. the fight was interesting but other than that its awful,no 'soul' in this movie that make it interesting.. it doesn't focus on what a football fan for even about hooligan-wannabe but more into gang fight, territory,revenge and power.. if i have to compare this and the old one green street hooligan then i have to say that this movie is more to plagiarize the green street hooligan than its own story.. sad to say,i think only amateur (well maybe i'm an amateur too because i like it at first) would like this movie and perhaps it director itself also an amateur.. well its worth to watch but maybe Ben 10 is more worth it.. 2 thumb for the Green Street Hooligan but 4/10 on this as its 4 goes only into fight but still not worth a single thumb up..

Dom is a teenager who finds himself drawn into the charismatic world of football 'casuals,influenced by the firm's top boy, Bex.Accepted by the gang for his fast mouth and sense of humour, Dom soon becomes one the boys.But as Bex and his gang clash with rival firms across the country and the violence spirals out of control, Dom realises he wants out - until he learns it's not that easy to simply walk away.I do like Nick Love. Sometimes his movies and him are subliminally referred as the British Uwe Boll. This isn't the case. His films are an acquired taste.It's a shame then that he has gone slightly downhill remaking the classic BBc drama of the eighties. That was a gritty film, not glamorising the violence, and Focused on Bex's family life struggling with his obsession of football. And it was sometimes very funny with it's witty script.Even though this film is entertaining, they have made a huge mistake by not focusing on Bex as the main character, they have decided to go down the route of every football hooligan flick, and focus on a newbie.And it just doesn't have the same impact. The Football Factory/Green Street/Awaydays have already covered this, so why did Love decide to take a step back.Other than that though the film is quite solid, and a lot of the characters are amusing, and if you are a fan of the eighties, you will feel a little bit of nostalgia hearing music and seeing TV shows and the fashion.So it's not all bad, but sadly a little disappointing, especially the scenes that are taken right from the original.If you haven't seen the Oldman version, see this first, and see a true classic.

If you have seen the original version of this, then the chances are you will really want to see this. I have seen the original, so when i saw this first advertised, i almost wet myself with anticipation. Sadly, i have to report that I'm quite disappointed. Paul Anderson does a pretty good job as Bex Bissle, however the performance can only be described as lacklustre when compared to the tower of menace and intensity that Gary Oldmans original incarnation produced.Now. If you are going to see this in the hope that its another Football Factory/Green Street/Rise Of The Footsoldier orgy of football and people bashing the crap out of each other, you will be sadly disappointed.This film does however contain Elise tracksuits, Adidas trainers, some bad haircuts and a decent soundtrack. Oh and there is a lot of profanities if you like that sort of thing in a movie. thinking about it this movie doesn't have a great deal else. There isn't much talk about the beautiful game or the teams the firms themselves support, there isn't much in the way of beatings, and if I'm honest, not a great deal of violence. Im actually very surprised that this merits an 18 certificate.However, the film is well acted, does feel quite indie and very British, though the trailer for that new Michael Caine movie was most likely the most excited i got in the whole 2 hours.Yes see this movie if your interested in the subject matter, but if you haven't seen the original and want to watch a proper football hooligan movie, check that out instead.

Here's a Nick Love joke: two teenage boys are leaning against a wall. One says to the other, "I should stick a Tampax in you." "Why?" "Cos you're a c***." If you enjoyed that, here's another joke for you: Nick Love's The Firm - a remake of the late Alan Clarke's final film, the only good drama about British football hooliganism ever produced. Just check out Green Street, I.D. or Love's own The Football Factory if you're unsure about that.In Gary Oldman's Clive 'Bex' Bissell, Clarke's 1988 original features one of the all-time great screen villains: an upwardly mobile Loadsamoney with a sociology A-level and a Stanley knife. Reaping the benefits of the Lawson boom, this sociopathic estate agent and family man is seen to be a breed apart from the stereotyped bovver boy of the previous decade But The Firm isn't only a superb character study. Above all, it's a damning indictment of grass roots Thatcherism turned brutal, tribal and nationalistic. Bex's baseball bat-wielding Inter City Firm is just the flip side of an altogether more ruthless and democratically elected 'firm'. For Bex, Trigger and Snowy read Thatcher, Tebbit and Hesseltine.So, given the class, calibre and integrity of Clarke's output - and given Nick Love's - we haven't felt such a sinking feeling about a remake since Neil LaBute released The Wicker Man Mark II. A reaction the director himself anticipates: "I know there is an element of cynical people who are taking issue with the fact I've remade The Firm." It's a fair cop, Nick. "But I'm hoping there's enough of a different angle and that we've taken this into different territory." You mean a territory that isn't populated by geezers, gangsters and a string of 1980s club hits? Ah.Love's version backdates the action to 1984, a few years earlier than the original. So out go the quiffs and stripy yuppie shirts, and in come wedge-cuts and sportswear: a day-glo riot of Fila tracksuits, Adidas trainers, Pringle jumpers and Tacchini tops. The kind of clobber 17-year-old Dominic (Calum McNab) eagerly sports in his infatuated attempts to please West Ham firm leader Bex (Paul Anderson). The hapless lad is soon pitched into the violent world of Saturday turf wars with old rivals Millwall, discovering the hard way that what might look exciting on telly is acutely painful in real life.Love has dutifully re-staged a few key scenes from the original. The rest is fat; less a remake of Alan Clarke even, than a Football Factory rematch. Certainly, the entire point of Clarke's drama is anathema to the director. "I think if you get bogged down in the politics behind it all, it would play less as entertainment," he says. Instead, to please multiplex audiences, "which is what I'm aiming this at, you've got to have big fight scenes and lots of loud music".Thus, deliberately shorn of any socio-political context (although the West Ham-Millwall kick-up of August 2009 has been an unfortunately well-timed gift, promotion-wise), this shallow and pointless remake settles for rehashing Love's single idea, familiar from his previous three pictures, in which a young, weedy, working-class guy gets sucked into a violently glamorous world led by a charismatic father figure who eventually turns round and bites him, before our hero escapes with a few scrapes and bruises. Whatever demons the former middle-class rude boy is trying to exorcise, he clearly hasn't achieved catharsis yet. This is less The Firm than 'The Formula'.In between, there's the usual wooden performances, self-consciously laddish dialogue, and a certain colloquial diarrhea; having a garishly-dressed casual described as looking like "a f****** fruit pastille" is funny the first time, but to subsequently hear every permutation of it ("like a liquorice all-sort"; "like a post box"; "like John McEnroe") gets really tedious, really quickly.The film would also like to be patted on the back for its attention to 1980s detail, as if including Kool And The Gang songs and old 'TV AM' clips, or peopling gritty estates that have looked exactly the same for the past 25 years with a bunch of Diadora-wearing goons makes a brilliantly convincing time capsule on its own. Love's box-ticking period films are the equivalent of those retro CD box sets ('Now That's What I Call Exxon Valdez'), flogged in their millions to nostalgic forty somethings who've apparently forgotten just how rancid the 1980s actually were. The music may be authentic, and the typeface spot-on, but the atmosphere just isn't there.Given its director's claims to abhor violence, The Firm also broadcasts some extremely mixed messages: over some soppy piano chords, we're invited to feel sorry for Bex and Co after they and their motors take a battering. Not because they're pathetic. But because they lost a fight. Still, to his credit, Love's pretty good at choreographing simmering hostility, those nervy moments before everything kicks off. And while he's no Oldman, Paul Anderson is decent enough as the ferrety Bex, albeit with a severely reduced range. But Daniel Mays, so good in Shifty, is badly miscast as rival firm leader Yeti. Sporting albino locks and over-sized shades, Phil Davis was genuinely unsettling in the original. But with his puppy-eyes and sleepy demeanor, the Burberry-clad Mays just bears a striking and distinctly non-threatening resemblance to one Anthony Aloysius Hancock of 23 Railway Cuttings, East Cheam."I'm not making films for film critics," says Love. "I'm not trying to be an art-house filmmaker... I'm making films for the f****** chav generation." Which, although unbelievably patronising, is absolutely fair enough. Not everybody wants to be Antonioni, and thank God for that. "But as a filmmaker," he continues, "I need to start metamorphosis. I can't keep making f****** chav generation films." On this evidence, Love hasn't cracked the cocoon yet. The most positive thing you can say about Nick Love's The Firm is that it isn't Nick Love's Outlaw.