#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Against the backdrop of aged has-been rock star Billy Mack’s Christmas themed comeback cover of “Love Is All Around” which he knows is crap and makes no bones about it much to his manager Joe’s chagrin as he promotes the record, several interrelated stories about romantic love and the obstacles to happiness through love for Londoners are presented in the five weeks preceding Christmas. Daniel’s wife has just passed away, leaving him to take care of his adolescent stepson Sam by himself. Daniel is uncertain how to deal with Sam and his problems without his wife present, especially in light of a potential budding romance within their household. Juliet and Peter have just gotten married. They believe that Peter’s best friend and best man Mark hates Juliet but won’t say so to his or her face. Others looking at the situation from the outside believe Mark is jealous of Juliet as he is in love with Peter himself. Jamie, a writer, is taking a writing retreat by himself in rural France following catching his latest girlfriend in an indiscretion. Jamie ends up spending much time in France with Aurélia, the Portuguese woman hired as the housekeeper. The question becomes not only if they can communicate their day-to-day needs with each other as she speaks no English, he speaks no Portuguese, and neither speaks French well, but communicate what seems to be their increasing mutual attraction to each other. Sarah has been in love with her co-worker Karl for the two years they have worked together, this attraction which everyone in their workplace knows about. Sarah has to decide if she can be forward enough to express this love directly to Karl, especially in light of what has been her personal priority of dealing with a family issue. Harry and Karen have been in a stable long term marriage. His new assistant Mia drops hints to him that she would like them to be romantically involved. Harry has to decide whether to fall to the temptation, especially considering being married to a perceptive wife. Single and relatively young David is the newly elected Prime Minister. At 10 Downing Street, he is attracted to one of the new household servants, slightly overweight Natalie, but isn’t sure what to do about it seeing as to their respective positions, the probable public scrutiny, and an incident involving the visiting U.S. President. Socially unaware Colin believes that the lack of romantic love in his life is all the fault of standoffish British women. As such, he decides to take decisive albeit somewhat unusual geographic action. And John and Judy are movie body doubles. They can communicate with each other straightforwardly while they are simulating sex filming a movie, but they may not be able to translate the feelings behind that simulation in real life to each other.
Plot: ‘Love Actually’ follows the lives of eight very different couples dealing with their love lives, in various loosely and interrelated tales, all set during a frantic month before Christmas in London, England.
Smart Tags: #christmas #adultery #love_at_first_sight #prime_minister #stand_in #marriage #romantic_kiss #aging_rocker #dysfunctional_marriage #public_sex #lust #christmas_song #christmas_tree #unfaithfulness #multiple_storyline #extramarital_affair #unrequited_love #first_love #female_rear_nudity #female_nudity #minister
|7.6/10 Votes: 438,848|
|7.1 Votes: 4915 Popularity: 22.366|
A deeply loving film rich in character
It has been a long time since I have seen a movie so rich in character that I did not want it to end. Love Actually is not a love story, it is a story about love. Love that reinvents itself, multiplies itself, opens itself up, and even devastates.
I am sure the film has its critics who say it drips in buttery corn. But when you are able to retreat inward and let it take you over, it is impossible not to feel. It is a rare treat – a film that makes you feel. During the process I was sad and happy and relieved. I was turned on, turned off, dizzy and grounded.
I was in love one time and it reminded me of that. The power of cinema can be that amazing, it can be that intense. The title of the movie is, perhaps, meant to confuse. Yet I believe it is designed to ask. Love Actually is … what?
Is it lust? Or a deep appreciation of the past? Can it be conquered by language or political barriers? Race? Infidelity? Age? Can it be all of the above plus more? Maybe a mingling of several?
It is rare for a film of great acting to be married to a terrific script. Yet it is something else for it to speak right to the audience; not talk at them, not try to sell them a film. Let them experience the film. Let it wash over them little by little until there is nothing more of them left.
I had expected from this film a relatively undistinguished, harmless little romantic comedy. What instead unfolded was two-plus hours of the most unremitting, insulting, film clichés imaginable.
The film consists of nine simultaneously-running subplots. Each subplot manages to be absurdly implausible, yet predictable at every turn. Among the worst:
One tracked a geeky fellow who was convinced that the way to turn his romantic life around was to impress American girls with his English accent. Each scene of that plot consisted of something like the following:
“I’m going off to the US, where the chicks will think I’m a coolly sophisticated Brit!”
(His friend): “You’re crazy!”
“California girls here I come!”
And so on.
In the “payoff” scene, at film’s end, he does, in fact, bag three hot American girls in a bar. Why this scene was worth endless repetition along the way is a mystery.
Another similarly repetitive plot involved two people performing together in a porn film. They strike up a conversation and start forming a tentative relationship. The “joke” is that these strangers are being sexually intimate, yet are acting like awkward teenagers as they stumble their way to going out on a date. They’re porn stars, but they’re shy! Isn’t that funny? Ho ho ho! This might have an amusing one-five-minute-scene joke, but this film stretches into a film-long subplot, complete with the male rejoicing over getting a good-night kiss from his new love. Barf.
Perhaps the worst one involved Colin Firth. Betrayed early in the film, he’s heartbroken. He is assigned a non-English-speaking housekeeper, whom it takes exactly two seconds to discern will be his romantic salvation.
This subplot builds to a supposedly climactic scene where he, with a big crowd in tow, descends upon a restaurant where she works, to propose marriage. He awkwardly declares his love, shots of all of the other diners looking confused and expectant, she says yes, then everyone breaks out in applause and there isn’t a dry eye to be found. Argh.
This film didn’t even bother to construct a buildup to this climactic moment. The two characters have barely a few verbal exchanges prior to this scene.
And the film uses all of the other clichés: her brusque Mediterranean father in the crowd, her sister egging her on, etc. None of these people were actually developed characters. They are just insulting stereotypes thrown in for the final set piece.
In another subplot, Hugh Grant plays a newly elected British Prime Minister. He doesn’t bother to act differently from the way he normally does, the same stammering, yet somehow debonair, Hugh Grant character that he always plays.
He walks in off the street to 10 Downing, and is introduced to his staff, one of whom, again, can immediately be identified as his eventual love interest. Power Prime Minister falls for humble servant girl — how romantic! Who would have thought?
The Prime Minister’s scenes seem to have scripted by a 10-year-old. It’s hard to depict politics or diplomacy more childishly than most mainstream films do, but this film manages. Grant is shown meeting with his Cabinet, with dialogue along the lines of:
“Mr. Prime Minister, you really need to get tough with those Americans.”
“No, I don’t think I will. Like it or not, America is the most powerful country in the world, so I think we’ll just have to be nice to them.”
Yes, it’s about that sophisticated.
But soon the evil Americans show up, led by Billy Bob Thornton, looking hickish and sinister, another example of the film’s relentless caricaturing. There is soon a negotiating scene that goes something like:
(Americans, haughtily): “We will be continuing the policies of the previous Administration.”
(Brits): “But they are bad policies!”
But the Americans won’t bend, so “bad” policies it will be. (Ah, the simple logic of film. Let’s have good policies instead of bad ones — Brilliant!)
Later, when in private discussions with President Billy Bob, Grant steps out and returns to find the Prez nuzzling his housekeeper. So, the Americans are not only unreasonable negotiators but lechers, too! At the next press conference, Hugh’s backbone stiffens, he emphatically declares that the Brits aren’t going to be pushed around anymore.
Cut to shots of applauding, grateful Brits, wiping tears from their eyes. No kidding.
The writing is adolescent from start to finish. Supposedly about romance, it was about anything but: It was about how many times the writer/director could haul out the same tiresome, insulting, manipulative stereotypes and syrupy music.
The film begins with shots of people embracing at airports. It’s a clue. The writer likes the image of love, but isn’t terribly interested in what goes into it.
We have a new plague among screenwriters: Richard Curtis. He also gave us Four Weddings and a Funeral, which was similarly, though not quite as spectacularly, awful.
Is it really the case that filmgoers will find such dreck droll and clever if only it is dressed up with a British accent? There seems to be no other explanation for this man continuing to be given financial backing.
Original Language en
Runtime 2 hr 15 min (135 min), 2 hr 9 min (129 min) (Toronto International) (Canada), 2 hr 9 min (129 min) (Asian Edition) (South Korea)
Genre Comedy, Drama, Romance
Director Richard Curtis
Writer Richard Curtis
Actors Bill Nighy, Gregor Fisher, Rory MacGregor, Colin Firth
Country UK, USA, France
Awards Nominated for 2 Golden Globes. Another 10 wins & 27 nominations.
Production Company Universal Pictures
Sound Mix DTS (as dts), Dolby Digital, SDDS
Aspect Ratio 2.39 : 1, 2.35 : 1
Laboratory DeLuxe (color by) (as Deluxe), Framestore CFC (digital grading) (as Framestore CFC London), Soho Images, London, UK
Film Length N/A
Negative Format 35 mm (Kodak)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic)