Reviews

Being in the industry (and having had a father who was a war veteran and a CD at places like Lennon & Newell and Grey back in those days), I can confidently say that Mad Men gets it right.

I remember visiting my father's office as a young kid, remember the comps with several layers of see-through pad paper (even the look of the illustrations are pretty spot-on), the boys club aspect of these places, the competition between DDB and everywhere else, the copywriters who grew beards and goatees and all had novels in their desks (one of our family friends became a popular novelist), and how all the creatives dressed up in suits for work everyday.

A lot has changed.

After many sad attempts of using the advertising industry as simply a backdrop (Melrose Place, Good Company), it's nice to see a show that integrates how the "work" is actually done instead of just showing everyone carrying around storyboards. While it's not the main crux of Mad Men (really, it's another nighttime soap opera), it does lend an air of authenticity.

This is one messed up movie.

It starts off normal enough - boy and girl, best friends as children, are torn apart when her mother takes her away to have her singing career managed.

Years later, she is a huge star and he's still a shlub working at a framing shop in his small town. He longs for her. She has some mental issues. A number of different ways, interesting ways, this thing could have gone.

But no.

Instead, it turns into a pseudo-existential ham-handedly symbolic art film with a few disturbing and embarrassingly film school moments. Neither character really touches you because they just don't seem real -- she's too screwed up to understand and he seems scared by everything.

If there was a message somewhere in here, it's lost on me.

My God, how could man have created such a monstrosity as "Here Come The Tigers."

All I can say is this film - which I have been curious about seeing since my youth - is absolutely unwatchable. It's as if the creators turned on a few cameras, threw bad actors in front of them and walked away.

I'm in need of professional help to get over the pall of boringness that had wafted over me after sitting through 1/2 hour of this mess. Even fast forwarding was a task.

Sean Cunningham should have been arrested for even thinking about making this film, let alone releasing it onto an unsuspecting public. Stay away. Even the opening credits are too cheap for words.

This film is one of my favorite of all time. Why? Because there's obviously something wrong with me. Who in their right mind would find brilliance in a film so thoroughly built for the quick Drive-in buck. Who would tolerate marginal acting and a non-existent storyline, a soundtrack the consists of three songs played over and over and over again, and a freeze- frame ending where everyone is laughing at a bad joke?

Who, you ask? Anyone who can see past the mechanics of this film, the strained convention and the low-budget. Crown International was the perpetrator of this relaxing slice of 1970's nostalgia and they know how to make these type of films like no one else.

There's something magical that exists between the lines of this film and how it captures the lazy days and fun nights of being a teenager and spending your days on and near the beach. It reminded me of those times back in the late 70's/early 80's. Moreover, the two lead girls have definitely got something going. And, as far as the three songs are concerned, with the exception of the synth track that seems to be the only thing that plays at the bar they all go to, the other two tracks ("I go to pieces" originally by Peter and Gordon, and "You're Gonna find love" by who the heck knows) add to the charming time machine quality of this film.

During my summers, when I was too young to see R-rated films like these, I recall that Crown used to group their latest and their last as double features. This film originally was grouped with "The Van" and later with "Van Nuys Blvd." Both MB and Van had "Dugan", whom, I guess, wasn't a popular enough character to make a franchise out of (due to the unfortunate comic stylings of Steve Oliver). Van Nuys Blvd., it seems, couldn't procure him so they created the much beloved character "Chooch" instead. A sad day for all, indeed.

I put this on sometimes when I have friends over. The typical response they have is amazement at the sheer randomness and stupidity of the movie -- but after a few minutes, no one can stop watching it. When I ask why, they usually say, "I just want to see what happens next." Sign of a masterpiece if you ask me.

There's something about this film that hits you - something between the frames and apart from what you see. Even though it's almost 40 years old it feels like it was shot yesterday (especially with the crisp DVD I saw). Having watched a few of these Swedish teenage films, I have to say nobody knows how to portray adolescence on screen like the Swedes do. There's a subtle, real-life touch that no filmmaker in the states can hold a candle to.

The two leads are very natural and engaging. Ann-Sofie Kylin has the biggest blue eyes you will ever see and makes a huge impact - despite the fact that her lines throughout the film barely register one paragraph.

If you can appreciate a slow film that pays more attention to the small details than to a chugging storyline, this is for you. While I found the ending a little unresolved even for a typical unresolved "70's" ending, it's worth the two hour viewing.

I bought this movie sight unseen and was pleasantly surprised. While it's storyline is similar to something like "The Secret of My Success" (small town person with ambition finds a life and success in the big city) and it's nostalgia factor is reminiscent of "The Wedding Singer", it manages to be warmer, more charming and ultimately more memorable than either of those films.

Furthermore, the soundtrack is just great. Alphaville, Roxy Music, ELO - and new songs by the lead character's band that are good enough to coax me into sending away for the CD.

It's a shame this hasn't made it to the U.S. I think it would do well here, despite the small inclusion of a few Swedish particulars that might need some quick explaining for some (particularly references to Sweden's social support system) and quick shot of a guy's weener - uptight folks can't handle that here. It also has a very American feel to it - and it's nice to see that we're one of many cultures that regrets some of its fashion choices in the past decades.

Distributors! Pick this one up! It's got hit written all over it!

Echoing another poster here, don't listen to the naysayers on this one.

Fröken Sverige is a fun little movie. Won't make you laugh out loud, won't make you cry, but will certainly charm you.

It's about Moa, who's 19, works in a toilet paper factory, lives in a small house with low ceilings in the country and is trying, comically, to find herself. She's a bit of a shlub, her friends - a small group of vegans/band members/protesters who all live in the city - care for her but don't terribly respect her much. Meanwhile, the drummer of the band, whom she has a crush on, treats her like yesterday's trash and she keeps coming back for more - until one day, that is.

It's mostly a story about how she, with a couple of new friends on her side, finds herself, gains confidence and gets control of her life.

I loved this film. It's enjoyable, light and bouncy, in a "Singles" sort of way. Alexandra Dahlstrom - well, she carries the film and you just plain fall in love with her (if you haven't already from "Show Me Love"). She's a particular kind of star. Diminutive with a cute crook to her smile and eyes that speak volumes, she's certainly got a presence on screen. Also, with her tiny legs, she's got a interesting, funny run as well.

A deep and brooding film? No. Life affirming? Not really. But who cares. Sometimes it's just enough to be entertaining, fun and charming - and Froken Sverige certainly is. Lastly, the soundtrack is just great - particularly the tracks from Melpo Mene.

That scene in the car. That scene brought back every hope and dream I could remember as a 15 year old in love with a girl in my class I would never have. It was a validation of all those wonderful daydreams you had at that age and the hope that sprung from them. It was a moment that would send that pang in your heart to heights it's never known.

You're never in love like you are at that age - and when you watch a film like this where you can become so completely involved in the life and emotions of a girl like Agnes - and see her greatest hope realized after a day of humiliation and pain - your heart soars. In fact, I can't think of a moment in a movie that is as perfect as this one.

There's a universal quality to the feelings this film evokes that will pull in everyone who has a heart. I'm many years beyond high school - and of the opposite sex of the two protagonists in the film - and I still can't help but identify completely with this movie. Much of this has to do with the two actresses in the lead roles. Where did this director find these two phenomenal actresses? Rebecca Liljeberg has such a quiet and powerful range. Watching her react to other characters is one of the great pleasures of this film. Alexandra Dahlström takes a role that, in anyone else's hands would be either shallow or unbearable, and makes a character so complete, beautifully vulnerable and full of life you can understand why everyone loves her. These two girls - they are so wonderful, expressive and real you just want to hug them.

I saw this film when it came to New York, loved it then when i saw it once during what seemed like only a two week run, then recently remembered it and rented it. I have seen it 5 times since and I'm sure I'll see it many times more. It is a film that transcends gender, sexual orientation and age.

And for all you English language folks out there (I'm one of you), the subtitles will not be a drawback. In fact, watching this film in it's native language brings you even closer to these characters when you realize how familiar life is as a human being, no matter where we're from. How much we all have in common when it comes to matters of the heart. It's a nice little extra to be reminded of, since it's something we sometimes tend to forget.

My praise cannot be more genuine, heartfelt and complete. Get this film. Your day will be made by it. You'll be telling your friends about it. In a busy life where there's a lot of distraction, you'll remember for a moment how wonderful it is to be alive and in love - and how that's worth everything in the world.