It is a performances centric movie

I don't have all the words right now but this film is a work of art.

Absolutely Fantastic

A lot more amusing than I thought it would be.

I seldom write reviews, and if I write one, it's usually cos it's a 10+ movie I've watched at least 3 times (and for this, it's 3 times in 3 days!).I've only recently started watching Thai movies available here in the last few years, and those were usually supernatural thrillers or horror films (with the exception of Beautiful Boxer, which I didn't watch).I'm thoroughly smitten with this film. Though not technically perfect, I was simply so engrossed by the story, charmed by the innocent boys, rooting for the protagonists from the second half of the story that when the end came, I didn't even realise almost 3 hours had passed.There is no sex in the movie, not even sexual tension, which simply made it better for me. But what it does have are tender scenes that simply melt or break the heart - not just the scenes with Mew and Tong, but also the scenes with Tong and his mother, between his parents, his father and June, even some of the scenes with the band.It's not perfect, but to correct the sometimes jerky way in which the film plods along and then suddenly speeds up would mean a much longer film (which I am not against anyway). The gay teen romance seems to suddenly go from nothing to something to nothing again within a few scenes involving both boys. the father seems to recover much too quickly - seemingly within a few days of plot time. But I was so caught up by the feelings induced that I never thought about them till I sat down to write this review.It is upbeat, fun, yet sad and bittersweet. It manages to weave the complexities of various relationships into a coherent story, and has made me ponder too my own relationships, feelings of loneliness even when among friends and family, and what I would do when I am caught in the same situation.Will it do the same for you?

Love of Siam is so many things to different people. Cynics would hail it a piracy of their lives. Romantics would view it as one complex but fascinating puzzle. Realists would declare it an honest mirror. Absurdists will proclaim it as a study of stark reality. Every acclamation about this multifaceted composite of modern relationships is well-earned. The movie never loses its rhythmical series: brisk, sly, funny, bleak, cruel, honest, blunt, unapologetic and above all, mystifying. This is the kind of rabid writing that makes people like me insecure. It never revels on profundity but you feel the looming sadness, the yearnings, the melancholy and the imminent gloom hovering above the characters' heads. You root for them, you want them to be happy, but like you, they are as confused, fumbling around, making the most of what they know. They are no longer confined in celluloid fiction. They inhale the same air, their breathing, rising and falling to the slow rhythms of your pulse. You are one with them in confusion and desperation.

Perhap,I think it a shame on them to think only a thing that you should be expected from Asian homosexual boy is a "money&honey" why don't rethink we are in the same earth and need the same love conceptional ,too There are many ways of love to be demonstrated in this 2hours drama movie and the tastes of love or to belove is magnified people together such as their family,friends,...etc. but there're not sexscences in this warmly movie as US DVD version pictorial promotes.May be you're not mislead by producers but you're mislead by perception&expects.Frankly,I saw French,Thai, or even US black melodrama but I don't think this is a black melodrama film ,because this movie communicate a widely range of emotions,not especially tragic storyline.Maybe the ways of love is no definitions,expectations,inconclusive paths or any determinations to be conducted love. Just love or belove. It's no more exceeding.

I can see where the previous commentator came from. However, maybe biased by my own liking of mellow and subtle plot-weaving, I enjoyed the overall picture painted by the music, 2 main actors, and the parents and June.I personally favor this movie because it doesn't construct/explain explicitly the events and personality surrounding each character as concrete context of the story, which is often a technique used by mainstream films to materialize climax and logic of a movie's plot (e.g. she acts/feels this way because it was established that she was such and such...).Therefore I suppose the reason so many people like this movie literally across the globe (mainly observed on forums from the United States, Taiwan, Hong Kong, China, Philippines, and Europe), is because it uses a Thai case to exemplify humanity's constrained reaction toward its surrounding.Without spoiling the movie, I am referring to the scenes the director ended up choosing as plot construction regarding characters' emotions and actions. Instead of picking the conventional expression that would usually indicate 'sad', 'she is going to blow up', and 'angry', the scenes selected to continue the flow and plot of the movie are rather life-like: Life doesn't always present significant events with significant background music and conventional cues, which often supports both the actors and audiences in moving the drama (or movie in this case) along.So my friends and I love the movie for such illumination that: if the contemporary cultures often internalize certain procedures, cues, and embodiment that connect external events and internal reactions/feelings, what are humans to do in a real world that is not tamed by our rule?Maybe from a more speculative audience's eye: what can we possibly do if we cannot bear to lose the one we love, and what if we go on life without loving anyone at all? The movie achieves a 9/10 for me despite its weak elements (some acting are definitely...not so great, but I don't speak Thai and don't know the culture), exactly because it constructs a unconventional platform (the acting, climax-devices, the music, and plot) and operates consistently along its story-telling (a gradually broadening perspective of love across generation (Mew-grandmother), time/space (Tong's family & sister), gender (Mew & Tong), and the peripheral Others (the Chinese-Thai Ying and her crush on Mew, and the Catholic family)).