Reviews

Rather than the cliche and ever-so shallow modern critic of religion, this documentary acts as a brilliant expose of the Western commodification of religious experience through the cultural appropriation of alien religions, and on the side it manages to teach you about how we tend to self-reconciliate by finding mirroring objects -whether they be gurus, psychotherapists or journals- so as to project the products of our introspections we are too insecure to be conscious of onto those external platforms in order to abstract ourselves from the "self" and recognize it through that identical alien that we've created. Personally, as a psychologist and a struggling religious person, this movie exceeds my expectations in a very unexpected way.

It takes a special kind of talent, special in being rather extraordinarily able in rendering things unenjoyable, to provide absolutely no comedic value with a cast as such. I've never seen such a stark contrast between the level of the actors' talent and the one-dimensioned shallowness of the roles they're casted to play. I have stumbled upon this coal of a movie in an uplifted mood during the experience of which I was idle enough to reflect my inner joy on any and everything I was bored enough to bestow upon; surprisingly, this movie gained my appreciation in being the object which made me find great worth in pure unworthiness. This was a great experience and all but I still don't refrain from classifying this movie as "garbage tier" one only for I'm quite sure that the producers didn't intend to beget such a profound life lesson.

The original name of this movie is "Yolun Acik Olsun", which literally translates to "May Your Road be Open" in English. The prayer itself might be manifested throughout the movie in that the road might be constantly open, but oh boy are there some sharp turns that makes you wish for a full stop... Always make sure your prayers are fully-inclusive lmao

I presume the Turkish cinema was waiting for the economy to collapse to sublime in producing top-of-the-class movies such as this. I'm not going to give any information regarding what happens in the movie, just go ahead and dive.

Good luck in coping with the after-effects of this movie; a cold shower usually works.

Julia and Aksel are the perfect examples of the type of people who are living off of distractions and not bringing all of their endeavors to a halt even for one moment just to assess the aim of the demonstration of their whole existence. No morals, no aim and definitely no meaning. Just living, for the sake of living. Just caring, for the sake of their reflections on others. Meeting on one common point, pure selfishness.

This movie basically taught how two lines of life can lead to nowhere but to each other and climax out of void into a pure state of absence.

Similar individuals with an ambiguous and inconsistent system of control they've established to rule over their instincts living aimlessly by the sole motivation of being unique forming a clump of people who are not even near being worthy of -let alone social- existential value at a direct level.

Sums up the western societies in general.

Nobody is one of those movies that doesn't take itself seriously, and lets the audience know of it by demonstrating its pertness via often shown comedic relief moments. Now, if it were to be one of those that builds up the audience's expectations by making them aware of its tempo and texture within the first quarter, I'd be perfectly fine with it, since, a shallow action flick that's consistently honest with itself would be welcome by anyone who's looking to blow some steam off or kill some time. But this ain't it, chief.

Nobody starts off dramatic, letting you know that the protagonist's life is unfamiliar with any source of excitement and desperately wants to prove that to you within the first 5 minutes. The goal of the manner the immediate following events are narrated with fall under the same sentiment as the one of the intro. Yet, the whole narration starts to give you a hint about the upcoming narration manner in which the latter half of the movie transpires with, high-tempo comedic-action that is. By the time the movie ends, you're left baffled but relieved. Significance of the internal inconsistency is compensated with the enjoyable soundtrack and action scenes.

I, personally, love RZA and Bob Odenkirk's works; however separately I admire them and what they create, seeing them collaborate has given me reason to have high hopes. I'm very much sad to say that this movie is the product of a borderline amateur crew who are nutty about John Wick style action. They're clearly out of their depth.

Some people have been loving this movie, some went further by calling it a masterpiece. And the others have been wondering why so many people, let alone loving, even liked this film. The dichotomy in scrutiny is significant.

I've wondered the reason behind all of those 'over the top' ratings until the last 15 minutes. After that, I realized that those peeps who've been reviewing the movie must have just saw Tom Cruise and slapped those 10/10 ratings. There can't be any other reason.

Cheesy and shallow philosophical arguments, Jamie Foxx's below-the-bottom acting and his pseudo-humanist character, plot holes that are bigger than the plot itself, trying too hard for a ironic climax and making Tom Cruise's bound to his character only subtle thing about this movie by acting as if the viewer is stupid by making the character explain the irony and so on.

Only good thing about this movie is that it ends. Yes, a cheesy comment for a cheesy movie.