Hellen I like the storyline of this show,it attract me so much

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Steve Pulaski If George Washington didn't cement the notion that David Gordon Green was an ambitious, careful new writer-director, his sophomore film All the Real Girls should do the honors. Here is a soft, warm, and often frighteningly realistic portrayal of a young relationship in the south, burdened by pasts no one wants to talk about and futures no one is really sure of. This is yet another film where Green magnifies tight-knit relationships in seemingly desolate communities.The film stars Paul Schneider and Zooey Deschannel (who, with short hair in later scenes, looks strikingly like actress Greta Gerwig) as Paul and Noel. Paul lives with his mother, who works as a clown at children's hospitals, and has a reputation for being a womanizer who shies away from long-term relationships. Noel is a more mature, if quirkier, young woman and the two hit it off when they first meet. Paul hangs around with a group of guys, one of whom is played by Danny McBride, and loves to have vulgar, immature dialogs. But when he hangs with Noel, he has much more intimate, mature conversations, as they see eye-to-eye on much more than they'd believe.What unfolds is a truly beautiful relationship, one where the idea of sex crosses the mind but isn't directly acted upon. This is because Paul genuinely cares about Noel's feelings, and because of this, acts in a more restrained, conservative manner. If he didn't feel so attached to her, he would've easily had sex with her a few days after knowing her and perhaps add her to the laundry list of girls he slept with in a week or so. But he becomes so close with her that it frightens him, and makes him think about how his life my change with this woman.This story wouldn't have worked half as well with lesser screen presences. Schneider and Deschannel provide leverage emotionally and narratively that wouldn't exist if the shoes of Paul and Noel were filled by performances more driven by beauty and a script more concerned with petty mawkishness. I constantly see young girls - and older ones, too - flock towards the latest film adaptations of Nicholas Sparks novels, with incredulous romances, trite instances, and utterly lame characters. The harmful effect with those films are they provide audiences, particularly females with the idea that relationships like this actually exist and picturesque beauty is a commonality in the deepest of relationships. I would recommend the same crowd All the Real Girls if I knew my recommendation wouldn't be instantly discarded when they realizes how independent, subtle, and serene the film actually is.The glue holding the film together is the score, which combines that kind of rare beauty in certain instances that would seem trivial if they weren't made noteworthy in some way. The score livens common events in the characters' lives like talking, cuddling, walking, or simple scenic shots of the south. The cinematography is done by Tim Orr, the same man who made the dreary, urban landscape of North Carolina a character in Green's George Washington. Needless to say, after providing that film with such incomparable beauty, his work here is equally impressive.All the Real Girls doesn't blind the viewer with potency in symbolism and subtlety like that film, but it makes for just as engaging of a viewing. It offers a study on a believable relationships that one is hardpressed to find in other romantic films. Just like most independent films, it isn't complete unless there are a few questionable instances, and one in particular, I can see angering viewers. It's so odd and undeveloped that it leaves a bit of a pungent aftertaste after seeing such a deep, intimate picture. But that's film.Starring: Paul Schneider, Zooey Deschanel, and Danny McBride. Directed by: David Gordon Green.

Martin Bradley Nothing very much happens in "All the real girls". Life, such as it is in this sleepy American backwater, goes by but very, very slowly. In itself that's just fine; movies don't have to be 'about' anything. This is David Gordon Green's follow-up to his highly acclaimed "George Washington", (which I haven't seen), and on the strength of this film, if he owes a debt to anyone, it's to Terrence Mallick.The central characters are Paul, (a sexy Paul Schneider), and Noel, (an equally sexy Zooey Deschanel), and to say they are pretty vacant is to credit them with an intelligence they don't have. (This is a film where people spout 'profundities' that they get out of books, even if you can't imagine any of them ever picking up a book). He's the unlikely town Romeo and she's the sister of his best friend and we have to presume they are in love.Green wrote the film from a story he and Schneider devised but it feels improvised. The problem is neither Paul or Noel are good company, nor is anyone else. This is an indie American art-movie filled with its own importance, visually striking in that Terrence Mallick way but something of a slog to sit through. I, for one, was glad when it was over.

MisterWhiplash All the Real Girls is a love story, but according to director David Gordon Green on the DVD he would almost not want to explain what it's about. The reason for this turns out to sound, perhaps, a little too high-minded or poetic, maybe just pretentious, as he expounds upon the way the sun hits the two and a half legged dog and that that's what the movie is 'about'. In short, he explains, the movie is just about how we are. That's possibly a good way of explaining it, or reasoning it or whatever, since the film is not entirely classifiable almost in spite of its more typical and tender elements. But as a work of a director like Green it is something that is all his own, for better or worse (mostly for better), which is something that has been seen in the work he's put out so far with the possible exception or amendment of Pineapple Express.It's by no means a really great love story nor a really great film. Yet as someone who has tried to crack writing his own relationship dramas, this struck a chord. There are real scenes of truth, of revelation and insight, and tenderness and the resolve to try and accept the way things are which can never be done. Paul Schneider plays a character named Paul (how close to real life I leave to you to figure on), who is something of a town Lothario, albeit not really proud of it as we later learn. He and Noel (Zooey Deschanel) fall for each other despite the angry protest of her hick brother Tip. We then see the relationship unfold as something of a first-young love scenario, both for Paul and for virgin Noel, and how it plays out against some more specific drama and character interplay with Paul's frustrated hospital-clown mother (Clarkson) and friend Bust-Ass (Danny McBride).As tends to happens in certain young-love movies, there's something that happens that occurs that mucks the whole thing up- more-so for Paul than Noel in one of those 'funny' kind of hard to take ways- and yet Green even treats this as well as other tougher moments with care and attention to how real and awkward and truthful the actors should play it. This doesn't necessarily mean all the scenes work completely or feel a little jagged with the patient (not really slow) pacing. But when they do work they work very well, like a confession Noel makes to Paul in the hotel room, or a silly scene at a bowling alley. And while Green paints his 'canvas' of sorts with this sleepy blue-collar North Carolina town with some arty montages (the SKY, the high-speed factory, hills and landscapes, pretty pictures), the actors are surprisingly good with seeming to do so little. Part of that is the subtle strengths in the writing, and some of it is just how Scheider and Deschanel keep things simple and sensitive. Even Whigham has a good scene expanding his character. Clarkson is also a given for doing small wonders on screen.If it's not quite one of the most mind-blowing romance films I've seen this decade, it might be that I wasn't entirely in the right frame of mind, or didn't find all of the little scenes with the supporting characters worked as well as the central "plot" (in quotes for redundancy), or that the music is sometimes placed in ill-fitting scenes or is too sappy for my taste. These criticisms aren't to say it's a very well accomplished effort, a small and intelligent picture that doesn't cheat on its characters. It is familiar, and it feels very much a true Sundance fest effort, but it's better than others I've come across for its originality and tact.

dead47548 There is no doubt in my mind that this is the most realistic film ever made, by miles. Everything about it from the familiarity of the people and relationships in the town to the dialogue is simply authentic. My jaw dropped when I heard the brilliant dialogue. It never feels like the actors are reading off of a script of playing out someone else's words. Every word, every pause, every look is so brutally natural that you can't stop yourself from being completely immersed in the world that Green introduces.It is also the most heartbreaking film I've encountered. The idea of an affair is brought up in so many films, to the point where it's just become something common. Even in one of my favorite films, Closer, an affair is brought up and it just feels so meaningless. You just get a feeling of "Ouch, he's going to be mad. Alright, next scene." and it's become such a dry and typical plot device. This film completely turns this around and creates one of the most shattering scenes I've ever had to watch. You fall so in love with the characters and want so badly for their relationship to prevail, but when Noel drops this bombshell the viewer, like Paul, becomes absolutely devastated. The sex scene is the most painfully hard to watch scene I've ever come across. It subtly displays the complete degradation and travesty that their relationship has turned into and brought me to tears.There is so much depth and so many symbolisms in the film that relate to their relationships throughout the picture. A great example would be Noel's haircut as a disruption of nature just as her weekend away was the catalyst to their separation. There was also the river displayed in the end when Paul is trying to teach his dog how to swim. He points out that the river flows two ways, and I think this is a metaphor for their relationship. Both characters are moving on their own way. When they cross paths it's beautiful, but then they pass on into their own opposing journeys. Paul is transforming from a sexually promiscuous man into a deep lover who cares more about an internal relationship than a physical one, and his relationship with Noel is what helped him become this. Noel transforms from a shy, isolated virgin into a more outgoing and sexually experienced woman, and it was their relationship that propelled this change. This is easily the most authentic and devastating film I have ever seen. I was completely wrecked.