Sing me something romantic (2007)

placidowl24 said:Look, I gave him a one. What now?

But there are still four fives left, I guess.

A 5.00 average? That’s never happening again.

Eric Jackson68 said:Right, and you conveniently neglected to mention that the movie currently holds a perfect five-star rating on the site. Out of the four people who bothered to vote, every single one of them gave it a five.

Heh, I didn't bother bringing up how it's rated elsewhere. Personally, I’d much rather read an actual review with a rationale behind the score. A string of fives on a niche site doesn't carry much weight for me.🙂

Drew White said:Heh, I didn't bother bringing up how it's rated elsewhere. Personally, I’d much rather read an actual review with a rationale behind the score. A string of fives on a niche site doesn't carry much weight for me.🙂

Oh, please. So you're telling me you can't even finish a movie because there was a tiny little genre shift in the second half? God forbid the film deviates from its initial premise for a moment! Apparently, a slight change in tone is enough to make it unwatchable for everyone else, right? Give me a break.

Eric Jackson68 said:Oh, please. So you're telling me you can't even finish a movie because there was a tiny little genre shift in the second half? God forbid the film deviates from its initial premise for a moment! Apparently, a slight change in tone is enough to make it unwatchable for everyone else, right? Give me a break.

Exactly. It’s absolutely infuriating. 🙄

Honestly, I absolutely loved this movie!!! Giving it a straight-up five stars, no questions asked!!!!

Eric Jackson68 said:Oh, please. So you're telling me you can't even finish a movie because there was a tiny little genre shift in the second half? God forbid the film deviates from its initial premise for a moment! Apparently, a slight change in tone is enough to make it unwatchable for everyone else, right? Give me a break.

Eric Jackson68, stop it. I'm a viewer, and it bothers me when there's this constant, lazy flip-flopping between weak comedy and drama—except it isn't even drama because the characters aren't people, they're just tropes. That’s not a "genre shift." It's just amateur hour. If that doesn't bother you, then you either don't get movies or you're Kulenović (or his editor), which is basically the same thing. Please.

placidowl24 said:Look, I gave him a one. What now?

So, have you actually sat down and watched the movie yet?

placidowl24 said:A 5.00 average? That’s never happening again.

And that’s exactly why you're handing out a measly one?!

Harold Mendoza59 said:Eric Jackson68, stop it. I'm a viewer, and it bothers me when there's this constant, lazy flip-flopping between weak comedy and drama—except it isn't even drama because the characters aren't people, they're just tropes. That’s not a "genre shift." It's just amateur hour. If that doesn't bother you, then you either don't get movies or you're Kulenović (or his editor), which is basically the same thing. Please.

Did you even watch the movie? I'm not trying to be provocative here. I'm genuinely asking.

Unlike my colleague who barely lasted fifteen minutes, I sat through the whole thing and didn't walk away disappointed. In my view, the ending is brilliant. The movie works best when it stays focused on the central conflict: whether to sell out or hold the line on your principles. The characters are great, the dialogue hits the mark, and the pacing stays snappy without too much filler.

Where it falls apart for me are the plot holes—they're bigger than Red Lake in the Midwest. For starters, they just walk into Bobby Marotti’s apartment, and you're left wondering how they even know him or his wife. Then there's the issue with Struja; how could he be so clueless about what was happening with his girlfriend or her plans? If she hadn't told him directly, people would have been gossiping about it for months (no spoilers here). It’s just hard to swallow. Also, a few years back, I had to defend myself all over the internet, even on this forum, for not having a cell phone since everyone has one now. In this movie, it seems like nobody owns a mobile, so messages are passed through third parties to justify certain plot points, but in this day and age? It doesn't feel right. It doesn't really feel like the movie is set in the early '90s either.

The film is like Windows XP (or if you prefer, Firefox 1.0)—it's solid, but it's chronically lacking patches.

Eric Jackson68 said:And that’s exactly why you're handing out a measly one?!

No, I'm doing it because I'm an evil person.

Eric Jackson68 said:Did you even watch the movie? I'm not trying to be provocative here. I'm genuinely asking.

Nah, I just have this nagging feeling about the movie. Seems like some genre shifts to me.

ironcyclist78 said:Unlike my colleague who barely lasted fifteen minutes, I sat through the whole thing and didn't walk away disappointed. In my view, the ending is brilliant. The movie works best when it stays focused on the central conflict: whether to sell out or hold the line on your principles. The characters are great, the dialogue hits the mark, and the pacing stays snappy without too much filler.

Where it falls apart for me are the plot holes—they're bigger than Red Lake in the Midwest. For starters, they just walk into Bobby Marotti’s apartment, and you're left wondering how they even know him or his wife. Then there's the issue with Struja; how could he be so clueless about what was happening with his girlfriend or her plans? If she hadn't told him directly, people would have been gossiping about it for months (no spoilers here). It’s just hard to swallow. Also, a few years back, I had to defend myself all over the internet, even on this forum, for not having a cell phone since everyone has one now. In this movie, it seems like nobody owns a mobile, so messages are passed through third parties to justify certain plot points, but in this day and age? It doesn't feel right. It doesn't really feel like the movie is set in the early '90s either.

The film is like Windows XP (or if you prefer, Firefox 1.0)—it's solid, but it's chronically lacking patches.

Kid's playing at a wedding for his pregnant ex—he just talked to her yesterday. Even the cop who was hassling him at the station yesterday is there, and nobody even knows who the bride and groom are. Right before they walk out, the band's just like, "Wait, who are we actually playing for?" "No clue, forgot to ask."
It’s those ridiculous coincidences where Washington, D.C. looks like a ghost town with ten people living in it, all totally clueless. That’s just Kulenović's signature dramatic flair, the same stuff you see in Bitanga's work. It isn't a plot hole in the script; it's a plot hole in the writer's head.

ironcyclist78 said:Unlike my colleague who barely lasted fifteen minutes, I sat through the whole thing and didn't walk away disappointed. In my view, the ending is brilliant. The movie works best when it stays focused on the central conflict: whether to sell out or hold the line on your principles. The characters are great, the dialogue hits the mark, and the pacing stays snappy without too much filler.

Where it falls apart for me are the plot holes—they're bigger than Red Lake in the Midwest. For starters, they just walk into Bobby Marotti’s apartment, and you're left wondering how they even know him or his wife. Then there's the issue with Struja; how could he be so clueless about what was happening with his girlfriend or her plans? If she hadn't told him directly, people would have been gossiping about it for months (no spoilers here). It’s just hard to swallow. Also, a few years back, I had to defend myself all over the internet, even on this forum, for not having a cell phone since everyone has one now. In this movie, it seems like nobody owns a mobile, so messages are passed through third parties to justify certain plot points, but in this day and age? It doesn't feel right. It doesn't really feel like the movie is set in the early '90s either.

The film is like Windows XP (or if you prefer, Firefox 1.0)—it's solid, but it's chronically lacking patches.

They don't actually know them. They just saw the Millionaire on TV during that episode with Struja, so when they ring the doorbell, the wife recognizes him and invites them in.

🤣

The whole thing about the genre shifts is just laughable... like, seriously? It’s hilarious how critics read it as some "flaw" of the movie, and now suddenly that’s the main reason it supposedly sucks. Look, as a movie, it's fine—if we expect it to stick strictly to whatever genre it starts with and never, ever wander off-track. Maybe Kulenović should've just followed a basic filmmaking manual that says "stay on plot," then maybe some big-shot critics would actually bother watching it. And who knows, if the director wasn't drinking, would he even be able to follow a plot? Hmm, so many questions, so many assumptions...

Harold Mendoza59 said:Nah, I just have this nagging feeling about the movie. Seems like some genre shifts to me.

Kid's playing at a wedding for his pregnant ex—he just talked to her yesterday. Even the cop who was hassling him at the station yesterday is there, and nobody even knows who the bride and groom are. Right before they walk out, the band's just like, "Wait, who are we actually playing for?" "No clue, forgot to ask."
It’s those ridiculous coincidences where Washington, D.C. looks like a ghost town with ten people living in it, all totally clueless. That’s just Kulenović's signature dramatic flair, the same stuff you see in Bitanga's work. It isn't a plot hole in the script; it's a plot hole in the writer's head.

He wasn't talking to the girl yesterday; he actually dumped her months ago, then showed up looking for cash. Meanwhile, she's getting caught up with an inspector because she's pregnant and trying to avoid any "scandal." If you piece it together, I guess everything actually makes sense.

And about that genre jumping people are complaining about, I don't really get why a comedy (or a drama, whatever) has to stick to one thing the whole time. I mean, we're just telling a story from our own backyard, and life is both funny and tragic. So, I think the movie is fine; I see a lot of my own life in it.

Compared to what Americans are usually used to watching, this is kind of a breath of fresh air. 👍

Amy Richardson3 said:🤣

The whole thing about the genre shifts is just laughable... like, seriously? It’s hilarious how critics read it as some "flaw" of the movie, and now suddenly that’s the main reason it supposedly sucks. Look, as a movie, it's fine—if we expect it to stick strictly to whatever genre it starts with and never, ever wander off-track. Maybe Kulenović should've just followed a basic filmmaking manual that says "stay on plot," then maybe some big-shot critics would actually bother watching it. And who knows, if the director wasn't drinking, would he even be able to follow a plot? Hmm, so many questions, so many assumptions...

🤣

You didn't read that in the papers, kid; you watched the movie. Of course genre shifts are valid—honestly, they can be great—but pulling it off requires actual skill, not just following a Kulenović handbook on how to write a plot. Or at least picking up a decent book once in a while.

And I don't know if he drinks, but he definitely isn't smoking, because a high Damir Lončar is swaying around in this film, slurring his words like he found something special in the grass.

Still, it's an improvement over Branko Schmidt, where the characters in Queen of the Night are basically selling their own crap in the weeds. Just total garbage. At least with Schmidt, there's substance.

casualtinker14 said:He wasn't talking to the girl yesterday; he actually dumped her months ago, then showed up looking for cash. Meanwhile, she's getting caught up with an inspector because she's pregnant and trying to avoid any "scandal." If you piece it together, I guess everything actually makes sense.

And about that genre jumping people are complaining about, I don't really get why a comedy (or a drama, whatever) has to stick to one thing the whole time. I mean, we're just telling a story from our own backyard, and life is both funny and tragic. So, I think the movie is fine; I see a lot of my own life in it.

Compared to what Americans are usually used to watching, this is kind of a breath of fresh air. 👍

I knew the second I typed "yesterday" that I should have just said "yesterday." 😉Alright, so about the other day. You were right—it all clicked for me, and I finally reached a conclusion: it’s the same old bullshit.

casualtinker14 said:He wasn't talking to the girl yesterday; he actually dumped her months ago, then showed up looking for cash. Meanwhile, she's getting caught up with an inspector because she's pregnant and trying to avoid any "scandal." If you piece it together, I guess everything actually makes sense.

And about that genre jumping people are complaining about, I don't really get why a comedy (or a drama, whatever) has to stick to one thing the whole time. I mean, we're just telling a story from our own backyard, and life is both funny and tragic. So, I think the movie is fine; I see a lot of my own life in it.

Compared to what Americans are usually used to watching, this is kind of a breath of fresh air. 👍

We’ve heard every excuse in the book for why an American movie sucks, but they all circle back to the same thing: "Well, this is just how we are, it's actually pretty good." Give me a break. I don't think we're a nation of idiots—not if I'm part of it—and I certainly don't find that excuse acceptable.

Harold Mendoza59 said:I knew the second I typed "yesterday" that I should have just said "yesterday." 😉Alright, so about the other day. You were right—it all clicked for me, and I finally reached a conclusion: it’s the same old bullshit.

We’ve heard every excuse in the book for why an American movie sucks, but they all circle back to the same thing: "Well, this is just how we are, it's actually pretty good." Give me a break. I don't think we're a nation of idiots—not if I'm part of it—and I certainly don't find that excuse acceptable.

I don't really get why you're confused. Like, the part about them not being in touch... I just don't follow.

Harold Mendoza59 said:I knew the second I typed "yesterday" that I should have just said "yesterday." 😉Alright, so about the other day. You were right—it all clicked for me, and I finally reached a conclusion: it’s the same old bullshit.

We’ve heard every excuse in the book for why an American movie sucks, but they all circle back to the same thing: "Well, this is just how we are, it's actually pretty good." Give me a break. I don't think we're a nation of idiots—not if I'm part of it—and I certainly don't find that excuse acceptable.

I mean, look, I’m not putting this movie on a pedestal or calling it some cinematic masterpiece, but after everything we've seen come out over the last 15 years, I actually thought this was pretty good. Like, really good. I laughed, the two hours flew by, and I really hope we get more movies like this made here in the States.
Whatever, man, if a movie is fun to watch, it's a win in my book, and this one definitely was.