Ever since Chris O'Donnell appeared in `Scent of a Woman' with Al Pacino in one of his best rôles, I have been looking forward to seeing this young actor in more good parts. Am still waiting
An old saying of mine says that where a lot of noise comes out, not much goes in; this would seem to be the case with most 18-20 year-olds today, if what we see (and hear) in this film and many others of like ilk are anything to go by.
`Mad Love' is obviously aimed at noisy 18-20 year-olds who do not have much stuffing inside their craniums, and so are easily worked up into all kinds of fathomless feelings, usually caused by lack of any emotional stability, either within or without their families.
The fact that Drew Barrymore leaves me as cold as a haddock on the fishmonger's counter is a good point to start from: she has not done anything to draw my attention (on the screen) and off it she has shown herself to be rather subject to some rather stupid behaviour; I presume this `whacks' with uncountable teenagers in innumerable towns and cities across the wide continent of North America, as well as in places dotted all over Europe. Despite more than 60 films in her curriculum, she has yet to show that she has the intelligence to be an actress of any standing. I suppose any actress has only to feel or seem to feel any emotions the director may require of her, and that these feelings must appear to be sincere: in this respect Ms. Barrymore cannot be reproached too much. However in this film you rather fancy that she has learnt a couple of things from watching other actresses in other films. There were moments in which I suddenly thought of `Thelma and Louise' That is a real drama to be going on with.
The soundtrack should be called the noisetrack: basically made up of rock of doubtful parentage and a perfect lack of any criteria of selection. Very briefly interrupted by a soprano singing a fragment of an aria, which meant going south-west to Mexico. Now, if it had been `In The Ghetto' they may well have gone to Chicago so much sense all this makes. However, not even a great big enormous truck loaded with 500 tons of timber can put and end to their/our misery, unfortunately.
Without a doubt, Antonia Bird and her writer Paula Milne tried to tell us something with this film, but if their intention was to make another of those folklore road-movies, they were derailed from the outset.
This film can only be of any interest to all those who write praising it with all kinds of grammatical, syntactical and orthographical faults: evidently, to pursue the point, the film has the same intellectual level or lack of it.
Would you be so kind as to put a zero on the voting scale, please? No, O'Donnell's tears at the end must make the film worth 2 out of 10; but don't nark me in case I take them off. Who cares ..?
`Mad Love' is obviously aimed at noisy 18-20 year-olds who do not have much stuffing inside their craniums, and so are easily worked up into all kinds of fathomless feelings, usually caused by lack of any emotional stability, either within or without their families.
The fact that Drew Barrymore leaves me as cold as a haddock on the fishmonger's counter is a good point to start from: she has not done anything to draw my attention (on the screen) and off it she has shown herself to be rather subject to some rather stupid behaviour; I presume this `whacks' with uncountable teenagers in innumerable towns and cities across the wide continent of North America, as well as in places dotted all over Europe. Despite more than 60 films in her curriculum, she has yet to show that she has the intelligence to be an actress of any standing. I suppose any actress has only to feel or seem to feel any emotions the director may require of her, and that these feelings must appear to be sincere: in this respect Ms. Barrymore cannot be reproached too much. However in this film you rather fancy that she has learnt a couple of things from watching other actresses in other films. There were moments in which I suddenly thought of `Thelma and Louise' That is a real drama to be going on with.
The soundtrack should be called the noisetrack: basically made up of rock of doubtful parentage and a perfect lack of any criteria of selection. Very briefly interrupted by a soprano singing a fragment of an aria, which meant going south-west to Mexico. Now, if it had been `In The Ghetto' they may well have gone to Chicago so much sense all this makes. However, not even a great big enormous truck loaded with 500 tons of timber can put and end to their/our misery, unfortunately.
Without a doubt, Antonia Bird and her writer Paula Milne tried to tell us something with this film, but if their intention was to make another of those folklore road-movies, they were derailed from the outset.
This film can only be of any interest to all those who write praising it with all kinds of grammatical, syntactical and orthographical faults: evidently, to pursue the point, the film has the same intellectual level or lack of it.
Would you be so kind as to put a zero on the voting scale, please? No, O'Donnell's tears at the end must make the film worth 2 out of 10; but don't nark me in case I take them off. Who cares ..?