Micitype Pretty Good

Rijndri Load of rubbish!!

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Portia Hilton Blistering performances.

ronchow First of all to appreciate this film you have to be an art-house film fan. Pace is slow. There was an absence of sound track. And no action.I was first exposed to director Ceylan's work through "Unce Upon a Time in Anatolia", and was immediately addicted to his style of story telling. From the opening long take (a car driving down a narrow country road at night) to the ending take (male head of family standing on top of the apartment roof looking out to the sea and sky, deep in thought), you sense the Ceylan signature.This is a family drama, about how the lives of a family of three were forever changed after the head of the family, a driver, agreed to accept a deal from his boss to assume liability in a hit-and-run accident and spend 9 months in jail in return for a lump sum cash payment.For this film I have all the patience required. After two films by Ceylan, I have become a fan. Highly recommended for those that are interested in alternatives to Hollywood dramas.

amrassinefil A family is dislocated when small failings become extravagant lies. The film opens as a wealthy businessman, Servet, running a campaign for the upcoming election, is driving in his car alone and sleepy, struggling to keep his eyes open. Seconds later he hits and kills a pedestrian in the middle of the road. Servet panics when another car with a couple inside approaches. He sneaks away. Eyüp, a man living in a slum at Yedikule neighborhood in İstanbul, with his wife and only son, is the driver of Servet. He wakes up in the middle of the night with his cell phone ringing. It's his boss, telling Eyüp to meet him immediately. Shivering in shock, Servet explains the current events to his driver. His excuse is if the fatal accident comes out in press it would terminate his political career, so he proposes Eyüp to take over the penalty and stay in prison for a brief period of time in exchange for a lump sum payment upon his release, whilst still paying his salary to his family so they can get by. Eyüp accepts the deal. An unspecified time passes, summer arrives, and Eyüp's son İsmail fails to enter college again. His mother, Hacer, who works in the catering division of a factory, starts worrying about her son after unpleasant events, and tries to convince him to get a job. İsmail suggests driving children between home and school but of course they don't have any financial source for this kind of an enterprise. İsmail asks his mother to request an advance payment from Servet without consulting Eyüp. Hacer meets with Servet, in his office after the election (which he lost), and requests the money. After Hacer leaves the office and starts waiting for a bus at the stop Servet persuades Hacer to accept a lift from him back to her home. More unspecified time passes, and İsmail intends to visit his father. Things take a poor turn when he finds his mother having an affair with Servet. İsmail stands passive. After serving nine months in prison, Eyüp is released. He senses things are "a little peculiar" inside his home. Hacer is in love with Servet and insists on maintaining their affair. Servet disagrees. That night, Hacer and Eyüp are invited to the police station and informed that Servet has been murdered. Police officers interrogate the two and Eyüp finds out that Hacer was cheating on him. He denies knowing anything about it. İsmail confesses to his mother that he murdered Servet. Eyüp calms down when he pays a visit to a mosque. Afterwards, Eyüp goes on to speak with a very poor man who works and sleeps inside a tea house in the neighborhood. Eyüp makes the same proposition to the poor man, Bayram, that Servet made to him: to claim the crime committed by his son. Bayram agrees. The last scene shows Eyüp at his home's balcony, staring at the Marmara Sea, and along with thunder it starts to rain.

FilmCriticLalitRao Nuri Bilge Ceylan is a fortunate filmmaker from Turkey as his films have received both critical as well commercial success in west.There are some western film critics who have not hesitated in naming him as Michelangelo Antonioni of Turkey.All such praise would definitely work in favor of any young film director but it is not known whether Nuri Bilge Ceylan enjoys same widespread popularity at home.It is not yet known whether his festival films have a huge fan following in his motherland,Turkey.Those who have seen his films know well that success of his films depend a lot on their specific picture post card locations and sublime photography.It is noted by audiences that as these two factors play a big role,narration assumes a secondary role for him.This is also the case with his latest film "Three Monkeys/Uc Maymun" which is based on an ordinary tale of guilt,redemption and revenge.As there is hardly any hint of suspense in a film where cowardice of its fragile protagonists is revealed,it is easy for viewers to make out what direction would be taken by the film.The only redeeming feature of "Three Monkeys" is the fact that it is much better than Nuri Bilge Ceylan's previous film "Iklimer/The Seasons".

anirban1985 If you look close enough into a human face, chances are that in nine cases out of ten, you would successfully read the directions of his thoughts. And if you happen to know his situation, that chance borders more on the tenner. "Three monkeys" by Nuri Bilge Ceylan exploits this very power of the viewer and virtually transports him straight into the characters' mind, simply by taking the camera far close to their faces than any decency would allow. And then, the viewer knows -- he knows the son's accusations of his mother before they actually come, he knows the pop's extreme distaste towards his wife so much so that when he does not lift a finger to dissuade his wife from taking the plunge, the viewer does not find himself unprepared for it. So very few verbal exchanges actually take place within the family, and yet, the wheels grinding are as clear as the day. This ploy goes back to Bergman, and Ceylan probably stretches it to its extreme by hardly ever leaving his actors' faces. And despite what anyone says about this movie, at the end of the day, it was only meant to highlight the inner workings of a family in the light of some frothing, volatile circumstances. At the end of the day, the son does what he thinks best for his mother; the father does what he thinks best to salvage the remnants of the wreck that his family had become in his absence. That's how every son and every father of every race or nationality is supposed to behave. Probably, it's the mother who refuses to fit into the "family" model, but then again, it is the odd element that actually initiates a story --- there's hardly ever a story if every person sticks to the script that life has destined him with. Moreover, Hacer, the horniest bitch of a mother that ever was, does not materialise from nowhere. The movie has all the elaborations for the sceptics, all the evidences for the Freudians. A good portion of the beginning half of the movie, where nothing whatsoever seems to be happening, does a brilliant job of what it had probably set out to do -- - to establish that nothing whatsoever happened to cheer up the mother's humdrum existence. This movie imitates life to that detailed extent --- life, which is usually a series of a few dynamite explosions, punctuated by a prolonged duration, where there's nothing but the fuse burning itself up. That brings me to what I believe is the greatest asset of the movie--- it's grim imitation of life. The hypocrisy, the evasion, the desire to let go yet the leash holding one back, the ordinariness, the extraordinariness, every possible human feeling that could cross a day- to-day existence has been etched deep and clear into this gem of a movie ---or, as I stated right in the beginning, into the actor's faces.And of course, there's the technical aspect of it. The train rumbling at just the right time, the cellphone ringing again just when it needed to (to say nothing of the ringtone, which was probably all the music that the movie had, the rest was just a brilliant choice of natural sounds), the camera focussing not just on the faces, but on the right areas of the faces (see how close it went), the use of monochrome for the most part without ever making it apparent --- these were just a random pick from the myriad of technical ploys that has stamped the word "masterpiece" on this visual and emotional extravaganza.