Very very predictable, including the post credit scene !!!

The acting in this movie is really good.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

The movie really just wants to entertain people.

only if its the last thing yo do and your humour is evaporated should you ever attempt to watch this. If you do, watch it alone invite no one, they will never return to watch another movie with you. It might be an excellent tool for that very purpose, invite people you want to get rid of in your life.Apparently I need to write more about his film in order to qualify as a review. This is sweet irony for this film it really does sum it up perfectly. after wasting my time it wastes more of your time. IT does have a function I take it all back.I recommend this film, watch it, its provocative, really go ahead watch it.

Meduzot (2007) is an Israeli film written and co-directed by Shira Geffen. (The other co- director is Etgar Keret.) The film was shown in the U.S. with the title "Jellyfish."Sarah Adler plays Batia, a fine person, but possibly the world's worst waitress. One day, at the seashore, a young girl drifts to shore, buoyed by a small plastic doughnut-shaped tube, and walks up to Batia. This little girl, played by Nikol Leidman, never speaks. We know she exists, because at one point she and Batia are in a police station, and the detective sees her too. However, that's all we know about her. Ms. Leidman is either completely guileless, or she's the best actor in the film. Her solemn, wide-eyed gaze is riveting.Several other characters interact in the film--a Filipino nurse who has been forced to emigrate without her young son, a brother and sister and their sick mother, and a newly wedded bride who has broken her leg on her wedding day.I enjoyed the movie because it was about ordinary people living ordinary lives--no soldiers, no explosions, no violent confrontations. The acting was uniformly excellent, and I was caught up in the film from beginning to end. It's worth seeing and worth seeking out. It will probably work well on DVD--most of the action is intimate and doesn't require a large screen. This film was shown at the excellent Rochester High Falls International Film Festival.

This is a loosely woven story about different people who all live in the same city, and occasionally cross paths, but do not know each other. The stories of the individual characters at first seem ordinary, but there are hidden insights into their lives that are touching. An elfin from the ocean adds an unresolved aspect. Does it matter that the protagonist barely has a roof over her head, while her publicity-seeking mother champions the cause of the homeless? Does it matter that parents and offspring misunderstand each other, or worse, are apathetic? Does it matter that the elfin with the float ring mysteriously appears and disappears. Life itself is this way, rarely neat and tidy.To those who like a film to be obvious with its message and linear with its storyline, this film will disappoint. To others who are willing to just watch and float along, this movie will have you enjoying it long after the closing credits have rolled. Definitely a film to talk about!

Ilan Shaul of the Hebrew weekly ANASHIM has a good take on the title, which means "jellyfish." Like jellyfish, the film's characters do not control their direction but are pushed here and there by chance; and like jellyfish, they mindlessly sting. Dostoevsky-- at least according to one of the characters-- could get his writing done anywhere; nothing distracted him. In MEDUZOT, it sometimes seems impossible that anyone could ever get anything done, so strong are the buffetings of happenstance. MEDUZOT tells a zigzag story in which human frailty and persistent mischance raise a new obstacle every moment as the characters carom about in Tel Aviv losing their sleep, their jobs, their lovers. The movie is propelled by its characters' Keatonesque dauntlessness as they bumble through one unpredictable absurdity after another, sometimes involving a failed attempt at good will and sometimes involving obtuse representatives of the established order such as the uncaring landlord, the glittering philanthropist, and the moronic avant-garde theater. The humor of exaggeration and absurdity that characterizes Etgar Keret's short stories is evident here, though he takes credit only as director. Water-- the sea, the rain, the ceiling leak-- is a nemesis, but it also holds the promise of rebirth.