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Globe-trotting drama explores sex, grief, betrayal.

A Lot or a Little?

What you will—and won't—find in this movie.

360 posits that we're all connected in some wa

Michael doesn't have an affair that he had pla

A climactic double murder takes place off camera,

Sexuality is a major theme of the film. The movie

Half a dozen "f--k"s, plus "s--t,&q

The only discernible product placement is a chauff

A lot of cigarette smoking, and, in a couple of sc

Parents need to know that 360 , which is loosely based on the 1900 play La Ronde , follows different pairs of characters, usually before, during, or after a sexual encounter. With sexuality the unifying theme in the international drama, the movie definitely isn't meant for anyone but adults and the…

Positive Messages

360 posits that we're all connected in some way to each other and that our relationships and choices can have far-reaching effects.

Positive Role Models

Michael doesn't have an affair that he had planned on and later reconciles with his wife. The older man shows a generous spirit as he looks after his airplane seatmate, shares his story, and tries to keep her safe. A recently released criminal Tyler overcomes his urges and does the right thing.

Violence & Scariness

A climactic double murder takes place off camera, but audiences see the aftermath: dead men lying in their own blood. A released sex offender rejects a woman's overt sexual advances and then hides in a bathroom -- making it clear that he's capable of violence but is trying to keep her safe.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Sexuality is a major theme of the film. The movie opens with a young woman "auditioning" to be an escort. She poses topless, and then it's implied that she must have sex with the boss to prove she's ready to be marketed. A few scenes show a woman topless or a couple having sex. One character is a call girl and is shown having sex with her client (during the act, she tells him it will cost more to continue). It's pretty graphic and shows a few different positions with the man being particularly forceful. Bare buttocks and passionate kissing and fondling are shown in another scene. One character is a sex offender, so when a woman comes on to him half naked, he pushes her away and flees -- not wanting to do anything to her. A married couple kisses and embraces. Two men discuss the services of a prostitute.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Half a dozen "f--k"s, plus "s--t," "a--hole," and milder insults ("dirty bugger," "stupid," etc.).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

The only discernible product placement is a chauffeured Mercedes.

Drinking, Drugs & Smoking

A lot of cigarette smoking, and, in a couple of scenes, marijuana smoke as well. Adults drink at restaurants and bars. A woman is shown hung over, and one scene follows a group of people attending an AA meeting.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that 360 , which is loosely based on the 1900 play La Ronde , follows different pairs of characters, usually before, during, or after a sexual encounter. With sexuality the unifying theme in the international drama, the movie definitely isn't meant for anyone but adults and the most mature older teens. The sexual content includes nudity, fairly graphic displays of prostitution, adultery, and even the emotional turmoil of a sexual offender trying to control his urges. Language is strong -- "f--k," "a--hole," "s--t" and more -- and violence includes aggressive sex and a bloody double murder. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

Brazilian director Fernando Meirelles adapts the themes from playwright Arthur Schnitzler's fin de siecle play La Ronde , in which 10 pairs of characters meet before and after sexual encounters. Like a Viennese waltz, the story shifts from pairing to pairing but always connects with a previously met duo. The story begins and ends with Mirka (Lucia Siposova), a beautiful Eastern European woman auditioning to become a high-end call girl in Vienna. Her first client, English businessman Michael ( Jude Law ), chickens out before they can meet -- while, unbeknownst to him, his wife, Rose ( Rachel Weisz ), is having an affair back in London with Brazilian photographer Rui (Juliano Cazarre). Other pairings include Rui's jilted ex, Laura (Maria Flor), who connects with an older man ( Anthony Hopkins ) on a plane trip and comes on to a mysterious guy ( Ben Foster ) who's actually a reformed sex offender trying to change his life. The action moves from the Old World to the New and back again before following Mirka's exploits one final time.

Is It Any Good?

Meirelles is a specialist in stylized, well-acted dramas like The Constant Gardener and City of God , and 360 continues in that vein but isn't quite as compelling a story as his previous work. It's not all the globe-trotting that makes the story feel disconnected -- the director has a gift for showing the intimacy of moments that take place in crowded cities or airports -- but the fact that some storylines are riveting and tender while others are confusing and left dangling.

It's also disturbing that sexuality is explored more for its power to alienate and injure than to unite and empower. Although Rose and Michael reconnect, nearly everyone else has a tragic ending. The saddest subplot, by far, is the Paris vignette: A widowed Algerian dentist falls for his Russian hygienist, a lonely woman completely unappreciated by her husband, who's low-level henchman of sorts. After his imam implores him to do the right thing, the dentist unexpectedly fires her, despite their obvious chemistry and camaraderie. This is an ensemble worth watching, but it's not a fully satisfying film.

Talk to Your Kids About ...

Families can talk about what they think the filmmaker is trying to say about the global reach of our actions. Is sexuality the driving medium of communication between people? How can parents and teens communicate better about sex and relationships ?

Which vignette impacted you the most? Why do some stories seem to connect more than others? Did the fact that 360 took place in various cities around the world make it more difficult to understand?

Movie Details

• In theaters : August 3, 2012
• On DVD or streaming : November 6, 2012
• Cast : Anthony Hopkins , Jude Law , Rachel Weisz
• Director : Fernando Meirelles
• Inclusion Information : Latino directors, Female actors
• Studio : Magnolia Pictures
• Genre : Thriller
• Run time : 110 minutes
• MPAA rating : R
• MPAA explanation : sexuality, nudity and language
• Last updated : June 20, 2023

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Where to Watch

Rachel Weisz (Rose) Jude Law (Michael Daly) Anthony Hopkins (John) Ben Foster (Tyler) Lucia Siposová (Mirka) Gabriela Marcinková (Anna) Johannes Krisch (Rocco) Danica Jurcová (Alina) Peter Morgan (Salesman 2) Moritz Bleibtreu (Salesman)

Fernando Meirelles

A modern and stylish kaleidoscope of interconnected love and relationships linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of romantic life in the 21st century.

Recommendations

More about 360

Directed by City Of God ’s Fernando Meirelles and written by The Queen ’s Peter Morgan, 360 has the pedigree, cast, …

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360 (U.K./Austria/France/Brazil, 2011)

360 arrives with a pedigree that will have movie die-hards salivating. Blessed with an acclaimed director (Fernando Meirelles, City of God & The Constant Gardener ), a respected screenwriter (Peter Morgan, Frost/Nixon ), and a high profile international cast (led by Anthony Hopkins, Rachel Weisz, and Jude Law), 360 would seem to be as "can't miss" as a film can be... yet, somehow, it does. This isn't a bad production by any application of the definition, but it is disappointing (and a little boring). The chief problem relates to structure. The film unspools more like a puzzle than a cohesive narrative. It's a tactical game for the screenwriter and director: begin with Character A, have Character A meet Character B, follow Character B, have Character B meet Character C, and so on - until we get to Character H, who then meets Character A, and we have come full circle. "360" refers to the movie's structure, which is indicative of where its sensibilities lie. A better title: A Few Famous and Not-So-Famous Actors Bump into Each Other and Don't Do or Say Much of Consequence . Wordy, yes, but accurate.

I could provide a rundown of who represents Character A, B, C, D, etc., but what would be the point? Likewise, providing short descriptions of their situations would be equally unenlightening. Meirelles and Morgan are less interested in their characters than they are in playing with the idea of connections - how, in today's world where people can (and do) travel around the globe with ease, men and women can interact in ways both mundane and unexpected. It's an interesting thought-piece and might make for a fascinating series of short stories, but it results in an uneven and sometimes uninvolving motion picture. An obvious flaw is that we become more invested in some characters than in others and several of the stories have little payoff and less seeming purpose.

The most compelling story focuses on Mirkha (Lucia Siposova), a high-priced call girl, and her prim sister, Anna (Gabriela Marcinkova), who live in Bratislava and travel to Vienna for Mirkha's jobs. Although Anna doesn't participate, she comes along for moral support, but waits outside of the hotels where her sister completes her transactions. Mirkha's first client, a lonely married man away far from home (Jude Law), stands her up. Later, she is paid to spend an hour with a drug dealer. While those two are together in a room, Anna strikes up a conversation with Sergei (Vladimir Vdovichenkov), the dealer's bodyguard and driver, who sees in the pretty young woman an opportunity he had not previously envisioned.

Many of 360 's segments involve infidelity - either actual or considered - and what causes some people to stray and others to remain faithful. If an average movie provides us with a picture window through which to observe the lives of others, 360 allows us a glimpse through a portal. It's hard to be satisfied with the brevity of the images. It's always a pleasure to watch actors like Hopkins, Law, and Weisz at work, but it can be frustrating to recognize that not a lot is being demanded of them. Hopkins in particular isn't given much more to do than recite dialogue, but his deep, rich voice and expressive countenance can easily trick the viewer into thinking there's more substance to his slice of the narrative than is apparent.

When a movie is defined more by structure than story, one expects there to be some kind of diabolical truth or great reveal. 360 offers nothing of the kind as it meanders across continents and between characters to provide truncated glimpses into marriages, affairs, business dealings, and playful encounters. For a director like Meirelles, this seems decidedly unchallenging and unambitious - a chance to visit different cities and countries (Paris, Vienna, Slovakia, London, the United States) and employ a variety of actors. Although it can be argued that most of the film's various vignettes offer closure of one sort or another, they never really get started before they end and we are forced to move one. When a chapter is dull - and there are several of those sprinkled throughout - it brings the proceedings to a grinding halt. 360 's beginning and ending are solid; it's the saggy middle that makes the movie seem long-winded and directionless.

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TIFF 2011: 360 Review

360 Review. At TIFF 2011, Matt reviews Fernando Meirelles' 360 starring Rachel Weisz, Jude Law, Anthony Hopkins, Jamel Debbouze, and Ben Foster.

360 is not a movie I'd expect from Fernando Meirelles and I don't mean that as a compliment.  Mierelles' previous films ( City of God , The Constant Gardener , Blindness ) have an energy to them and they tackle serious subject matter in a way that's tense, gripping, and unexpected.  360 is none of those things.  It's another tired anthology of uninspired vignettes that show us how we're all connected especially if the script is written that way.  The movie manages to waste a talented cast, its director's abilities, and two hours of the viewer's time.

The plot of 360 moves from one short story to another with the following vignette connected to the one that preceded it.  There's a businessman (Jude Law) who wants to cheat on his wife, his wife (Rachel Weisz) who's cheating on him with a guy who's cheating on his girlfriend (Maria Flor).  There's also a high-priced hooker from Bratislava, a father (Anthony Hopkins) flying to Phoenix to see if a dead Jane Doe is his missing daughter, a recently-released sex offender (Ben Foster) struggling to cope with the outside world, a Muslim dentist who can't declare his love for a woman, a woman who's unhappy in her marriage, and her husband who's unhappy working for a wealthy scumbag.

The point of every story and the entire film is to show how one chance interaction can change the course of someone's life.  I know this because the film opens and closes with a character talking about forks in the road and which path to take.  But even if the film hadn't broadcasted its thesis and conclusion, the plot is so simplistic that any viewer could pick it up.  It's the hippy-dippy nonsense that there are no coincidences, and we must open ourselves up to life and other people because we never know where life will take us.  Let's hug.

I'm not keen on anthology films and 360 is prime example of why.  It's possible to manage ensemble casts and short, interconnected stories, but it's incredibly difficult.  The economy of storytelling must be superb and we should be left wanting more from every segment because the characters and story have captured our attention in a brief span of time.  But that's not how it usually works out.  Instead, we get some high-profile actors who showed up on set for a few days and did a couple scenes.  All of the stories and characters are underdeveloped and before we can even begin to delve deeper, it's on to the next person we don't care about who's loosely related to the previous tale.

If 360 had perhaps cut some of its weaker plotlines it could have been a stronger film and still made its point (however hackneyed that point may be).  Ben Foster gives a great performance that's both creepy and filled with inner-torment.  We get his character for all of three scenes.  Anthony Hopkins brings some much needed gravitas and he has a moving story that could continue to go places.  He gets about four scenes.  Most of the stories in the movies show some kind of potential (the infidelity plotlines should be cut since they're redundant, predictable, and unworthy of actors like Weisz and Law), but they're seeds that are never given the chance to grow because their sole purpose is to form the narrative's idiotic daisy chain.

Based on Mierelles' earlier work, one would hope he could inject some life and originality into this difficult format and its asinine subtext.  Instead, he falls victim to it. Aside from some erratic and unimaginative use of split screen there's no creativity or flair to the storytelling.  The film could have been directed by anyone and it's sad to see a director of Mierelles' talent disappear behind boring shot choices, lethargic pacing, and washed-out cinematography.  360 goes through multiple lives and multiple cities.  It also goes absolutely nowhere.

For all of our coverage of the 2011 Toronto International Film Festival, click here . Also, here are links to all of my TIFF 2011 reviews so far:

• A Dangerous Method
• The Descendants
• God Bless America
• The Ides of March
• Melancholia
• The Skin I Live In

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Starring Anthony Hopkins, Jude Law, Rachel Weisz and Ben Foster - Available on DVD & Blu-ray™

"INTRIGUING… DESIGNED LIKE A THRILLER BUT MORE IN LOVE WITH THE NOTION OF FATE."

-Hollywood Reporter

"360 HAS A CIRCULAR STRUCTURE THAT’S DEFTLY PLEASING."

"INTRIGUING… DESIGNED LIKE A THRILLER BUT MORE IN LOVE WITH THE IDEA OF FAIT."

About The Film

A sexy, dramatic thriller about interconnected romantic life in the 21st century. 360 starts in Vienna, weaving stories set in Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative. A businessman tempted to be unfaithful to his wife, sets into motion a series of events which ripple around the globe with dramatic consequences. From the director of City of God and The Constant Gardener , and featuring a terrific ensemble cast, led by Anthony Hopkins, Jude Law, Rachel Weisz and Ben Foster.

Cast & Crew

Cast: Anthony Hopkins Jude Law Rachel Weisz Ben Foster

Directed by: Fernando Meirelles

Written by: Peter Morgan

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360 Reviews

It's pretty to look at but boring. [Full review in Spanish]

Full Review | Original Score: 4/10 | Jun 13, 2023

Far too many of the stories lead to dead ends, and even fewer still feel wrapped up dramatically.

Full Review | Original Score: 2/4 | Oct 4, 2022

Meirelles' 360 is a bit of a turkey. It might aspire for depth and meaning, but the Brazilian director's latest is a shallow and sketchy affair, all the more disappointing because everyone involved has the talent to do better.

Full Review | Original Score: 2/5 | Feb 2, 2019

This is a film in a hurry, and the characters are all so fleeting you can't engage with any them, but would you want to, even if you could? They are either clichés or two-dimensional irritants obsessively interested in their own trite miseries.

Full Review | Sep 1, 2018

There's one Anthony Hopkins monologue to remember, but that only highlights everything the rest of the film so sorely lacks.

Full Review | Original Score: 2/5 | Mar 17, 2016

If the film had not been afraid to go a little darker, dig a little deeper and develop its characters beyond their stereotypes, it would have been a much stronger effort.

Full Review | Original Score: C+ | Jul 10, 2013

Spending 111 minutes watching people at the mall would be a more illuminating study of human behavior-and undoubtedly more entertaining.

Full Review | Jun 28, 2013

Fizzles out with a terrible pat ending.

Full Review | Original Score: C+ | Dec 18, 2012

It often feels forced and inauthentic. Perhaps it's a weakness of the direction, but ultimately the film fails to fire up all its many cylinders

Full Review | Dec 6, 2012

Circular exploration of sex, love and relationships, in which interconnected characters reveal how actions, reactions and consequences impact on us all

One of those movies with a plot that is intricately constructed of a bunch of seemingly unrelated parts that end up fitting together improbably, but very nicely at the end.

Full Review | Original Score: B | Dec 4, 2012

It just goes to show that, even with so much talent involved behind and in front of the camera, some material just won't work.

Full Review | Original Score: 2/4 | Sep 12, 2012

Globe-trotting drama explores sex, grief, betrayal.

Full Review | Original Score: 3/5 | Sep 12, 2012

As the action moves from Vienna to Paris to London to Denver to Phoenix and then back again, the vignettes blur into one another ...

Full Review | Original Score: C | Aug 30, 2012

Mereilles stretches some of his links to beyond tenuous.

Full Review | Original Score: 2/5 | Aug 30, 2012

According to 360 the world is united in broken dreams and wounded hearts. It's too bad that playing R.E.M.'s "Everybody Hurts" on a two-hour loop could have expressed the sentiment more effectively.

Full Review | Original Score: D+ | Aug 29, 2012

Full Review | Original Score: C | Aug 26, 2012

Despite a few good moments, it's depressing, obnoxious, and condescending. To use a favorite critics' word, it's "leaden"... it just refuses to move.

Full Review | Original Score: 2/4 | Aug 22, 2012

The film's generic, meaningless title is a sign of the dullness to come.

Full Review | Original Score: 2/4 | Aug 16, 2012

It's a dull world after all.

Full Review | Aug 14, 2012

Review: ‘360’ can’t complete the circle

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Beyond the economic and political ramifications of globalization, consider its effect on movie stories: the cross-cultural slice-and-dice, á la “Babel,” that too often passes for meaning and resonance. In”360,”the new border-hopping feature from”City of God”director Fernando Mereilles, the faux profundity runs deep, infecting nearly every exchange in each vignette, whether the setting is Berlin, Bratislava or Paris.

Mereilles avoids touristy shots of his multiple locations, yet any sense of realism is undone by contrivance. With its international collection of mostly two-dimensional characters and its barely developed ideas on adultery, capitalism, addiction and sex, “360” is an over-plotted and dreary farrago.

Subtlety has never been the director’s strong suit, but it’s a bit of a shock that the muddled screenplay is the work of Peter Morgan, who brought wit and insight to such terrifically involving character studies as “The Queen,” “Nixon/Frost” and “The Last King of Scotland.”

Setting forth the underwhelming notion of life as an unbroken chain of forks in the road — i.e. personal decisions that influence everything that follows — the film crisscrosses among wintry locations, arriving nowhere in particular as it reaches for a full-circle perspective.

The actors, a mix of stars and lesser-known performers, try to inject the material with emotional urgency — notably Anthony Hopkins, in the only effective subplot, and Jude Law and Rachel Weisz, as married Londoners each seeking sexual satisfaction elsewhere.

Law plays Michael, who on a business trip to Vienna books the services of a Slovakian prostitute (Lucia Siposova) but is diverted from sealing the deal. We’re meant to understand that he’s really not that kind of guy anyway, given his nervous demeanor and phone chats with his young daughter.

Rose (Weisz, who starred in Mereilles’ “The Constant Gardener”) is a hotshot magazine editor — is there any other kind? — who’s ending an affair with a young Brazilian photographer (Juliano Cazarré), but not before his girlfriend, Laura (Maria Flor), leaves him.

During Laura’s flight out of London and subsequent layover in snowbound Denver, the film comes closest to generating an involving drama. The traveler’s state of in-between, suggested in the business hotels and bars of Vienna, becomes the nation-less condition of people stuck in a shut-down airport.

Her impulsiveness enhanced by alcohol, Laura befriends two men: her seatmate (Hopkins), who’s on a thankless search for a long-missing daughter, and a twitchy sex offender (Ben Foster), just released from prison. The latter element is indicative of the movie’s strained flirtation with danger, amid lots of talk about what it means to be a good man.

But in the brief connection between Laura and the older man (as he’s identified in the credits), strangers grieving in different ways, there’s a touch of poignancy.

Hopkins’ character is the most fully realized in the movie, complete with a monologue that the actor makes work, even if its carpe diem message-mongering is as unconvincing as most everything else in “360.”

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360 – review

S creenwriter Peter Morgan and director Fernando Meirelles have proven themselves mighty talents in the past, but they've come a catastrophic cropper with this bizarre film, an all-star multinational US-Europudding, lurching along in a wince-making series of tonal misjudgments and false notes. 360 is a portmanteau film, a daisy chain of interrelated lives; the title promises a panoptic view. It's perhaps inspired by the multi-stranded movies of Alejandro González Iñárittu, and the cyclical structure is taken loosely from Arthur Schnitzler's stage-play Le Ronde but with a hopelessly shallow pseudo-sophistication that made me think it had in fact been written and directed by Alan Partridge. Anthony Hopkins is a troubled soul in Colorado, searching for the truth about his vanished daughter; Jude Law is a businessman in Berlin, whose marriage is stagnant; Rachel Weisz is his unhappy wife in London; Jamel Debbouze is a romantic dentist in Paris – there are many more. The film is so wildly unconvincing at all levels that it is simply weird: two different attractive, sensitive young women suddenly make massively unlikely overtures to scary, strange men they have never met. Huh? If someone suggests seeing this, do a 180 – and run.

• Drama films
• Fernando Meirelles
• Anthony Hopkins
• Rachel Weisz

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Movie Review: Meirelles’ 360 Takes the Long Way Round to Nowhere

Coming just a few years too late to cash in on the “We’re all connected!” genre craze exemplified by Crash and Babel , director Fernando Meirelles and writer Peter Morgan’s 360 is a perfect example of how structure can completely bulldoze humanity and character in a narrative. Supposedly inspired in part by the feverishly exacting romantic roundelays of Austrian writer Arthur Schnitzler, 360 hops among a diverse (or “diverse”) set of characters all trying to establish, or re-establish, human connection, often of the sexual or romantic kind. How odd then that a film all about human connections manages to make none of its own.

Much like Schnitzler’s La Ronde (which was more often about sex than not), the story begins and ends with a prostitute. In this case, it’s newcomer Mirka (Lucia Siposova), a Slovak émigré in Vienna who when we meet her is being interviewed by her prospective pimp. Mirka then road-trips with her bookworm sister Anna (Gabriela Marcinkova) to her first appointment, with traveling British businessman Michael (Jude Law). But Mirka and Michael miss their connection thanks to one of his meddling potential business partners. Meanwhile, back home in London, Michael’s magazine art director wife (Rachel Weisz) attempts to cut off her torrid affair with a young Brazilian photographer (Juliano Cazarre). The Brazilian photographer comes home to discover that his girlfriend (Maria Flor) has left him owing to his infidelities. On a plane, the ex-girlfriend runs into an older man (Anthony Hopkins), who is searching for his long-lost daughter. They get snowbound in Denver and decide to have dinner at the airport. But instead, she hooks up with a convicted sex offender (Ben Foster) who has just been released from prison and is about to make his way to a halfway house. Elsewhere, a French-Muslim dentist (Jamel Debbouze) tries to work through his attraction to a married, non-Muslim co-worker (Dinara Drukarova). She, too, has flown to the U.S. — where she runs into Hopkins. And on and on we go.

This director-writer combo is an odd pairing here: Meirelles’s directorial sensibility, as evidenced in his breakthrough film City of God , tends toward the inexact and dreamlike, and Morgan, the celebrated writer of The Queen and Frost/Nixon , specializes in witty, pointed back-and-forth. One wields a watercolor brush, the other a rapier. And yet what this story needs is someone with sensitive shorthand, someone who can create and portray real characters in a few deft strokes without losing any of their human dimension — someone like the great Max Ophuls, whose stylized, heartbreaking film of La Ronde is still the gold standard for this type of thing. Instead, Morgan and Meirelles create something somehow both unforgiving and uncertain, and almost humiliatingly unsatisfying: They’re so intent on making sure the story moves on to the next happy and/or unhappy coincidence that we start to feel played. Just as a character starts to get interesting — just as we begin to wonder what they might be thinking, or what they might do next — they pretty much vanish from the narrative. The film has a great cast, but nobody gets to do anything; it’s like a mixtape of cameos.

That’s not entirely true. Hopkins gets a couple of nice, touching moments, but he appears to have willed them here entirely on his own: He delivers one particularly touching monologue at an AA meeting, utilizing that patented half-distracted singsong delivery of his. His speech is an odd moment in the design of the film, an unlikely bit of thoughtful languor amid all the restless, relentless motion. But it gives us space to think and feel, if only briefly — and it’s the only point in the entire film where we feel like we’ve gained any insight into anybody or anything. And then, of course, it’s on to the next thing. “We’ve come full circle,” a character says at the end. We might wonder if we’ve gone anywhere at all.

• movie review
• fernando meirelles
• peter morgan
• rachel weisz
• anthony hopkins

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Product Description

A dramatic thriller that weaves together the stories of an array of people from disparate social backgrounds through their intersecting relationships all set in motion by a businessman's attempt to be unfaithful to his wife.

Product details

• MPAA rating ‏ : ‎ R (Restricted)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.29 ounces
• Item model number ‏ : ‎ 25734279
• Director ‏ : ‎ Fernando Meirelles
• Media Format ‏ : ‎ Multiple Formats, AC-3, Closed-captioned, Color, Dolby, NTSC, Subtitled, Widescreen
• Run time ‏ : ‎ 1 hour and 51 minutes
• Release date ‏ : ‎ November 6, 2012
• Actors ‏ : ‎ Anthony Hopkins, Jude Law, Rachel Weisz, Ben Foster, Lucia Siposova
• Subtitles: ‏ : ‎ Spanish, English
• Studio ‏ : ‎ Magnolia Home Ent
• ASIN ‏ : ‎ B008PZ69RU
• Number of discs ‏ : ‎ 1
• #10,591 in Action & Adventure DVDs

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‘Unfrosted’ Review: Jerry Seinfeld Directs and Stars in a Biopic of the Pop-Tart. It’s Based on a True Story, but It’s Knowingly Nuts

It's in the genre of movies like "Flamin' Hot" and "The Founder," only this one is an absurd surrealist fruitcake cartoon.

By Owen Gleiberman

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As a kid growing up in the late ’60s and ’70s, I confess that I never understood Pop-Tarts. My family would buy them, and every so often I would put one in the toaster, wanting it to be a tasty treat. Such is the power of advertising that I always thought it was my fault that I found Pop-Tarts to be…just okay. Twinkies, by contrast, were junky but succulent. And even good old dry cereal, when you were in the mood for it, was pretty great — the delicate crunch of Rice Krispies, the sweet-milk-bath rapture of Sugar Frosted Flakes. To me, though, Pop-Tarts never lived up to their billing. They were bland when untoasted (though a lot of folks ate them that way). Once you toasted them, the hot fruit filling had a soothing tasty tang, but the rectangular pastry was still cardboard pie crust. It wasn’t awful, but it’s not like biting into it gave you a rush of joy. Prefab and a little dull, the Pop-Tart was a “product of the future” that seemed stuck in the past, like astronaut food.

I suspect the answer is that Seinfeld knows the Pop-Tart was a rather bland leftover-’50s concoction, but that he has a primal attachment to it anyway. And maybe it doesn’t even matter, because “Unfrosted,” once you get onto its wavelength, passes 93 minutes in a pleasurably light and nutty way. On some level, Jerry was clearly drawn to the quaint capitalist energy of the film’s essential (true) story: that in the early ’60s, the two reigning cereal companies in America, Kellogg’s and Post, were both based in Battle Creek, Michigan, a town of 50,000, yet they were fighting like rival European fiefdoms of the 14th century.

The movie is told from the point-of-view of Kellogg’s. Seinfeld plays Bob Cabana, the company’s head of development (loosely based on William Post), and Jim Gaffigan is Edsel Kellogg III, the head of the company, who’s still just a blowhard of an empty suit because all his success is inherited. Their rival company, Post, another family dynasty run by a descendent (Marjorie Post, played by Amy Schumer ), are the also-ran losers. They’re Pepsi to Kellogg’s’ Coke, Burger King to their McDonald’s, Avis to their Hertz. At the Bowl and Cereal Awards, a Battle Creek event that’s like the Oscars of boxed breakfast food, Kellogg’s sweeps all the categories (like Easiest to Open Wax Bag). They’re on top. But Post is about to change the game, with a pastry product ripped off from Kellogg’s’ own research.

If “Unfrosted” actually were a movie like “Blackberry,” it might have had a terrific resonance. But Seinfeld stages it like a dramatized series of stand-up-comedy stunts. We first learn how insanely anachronistic the movie is going to be when Bob stumbles on two children who are climbing into Post dumpsters to taste discarded cans of fruit filling. “It’s garbage!” says Bob. “Is it?” says Cathy (Eleanor Sweeney). “Or is it some hot fruit lightning the Man doesn’t want you to have?” What 10-year-old girl in 1963 would use the phrase “the Man”? But that’s the film’s comic aesthetic. “Unfrosted” is a period piece, but it’s as Dada as a Mad satire crossed with a second-half-of-the-show “Saturday Night Live” sketch.

The movie, in its totally kitsch way, frames itself as a thriller, with the competition to create the Pop-Tart likened to the race to the moon shot or the Manhattan Project. Bob takes a meeting with a South American sugar lord named El Sucre (Felix Solis), and the union of milkmen is presented as a Mob faction (presided over by Peter Dinklage) who will kidnap and threaten, since the Pop-Tart, if successful, would end their business: the daily pouring of milk onto America’s cereal. Bob, Stan and Edsel take a meeting in the Oval Office with JFK, played by Bill Burr as the testiest JFK imaginable. He agrees to intervene with the milk union, even as he readies himself for a meeting with the Doublemint Twins. There are jokes about naming a cereal Jackie O’s (even though Jackie is years from being Jackie O). And Jon Hamm pops up as his character from “Mad Men,” pitching a name for the Kellogg’s pastry product — Jelle Jolie — that’s out of the film noir of Don Draper’s dreams.

“Unfrosted” is brimming with Atomic Age ephemera. Like Sea-Monkeys. Bazooka bubblegum. X-Ray specs. G.I. Joe. The Slinky. Rock ‘Em Sock ‘Em Robots. Wax lips. Silly Putty. The references, though, aren’t limited to kids’ stuff. Walter Cronkite (Kyle Dunnigan) is shown, off camera, to be a babbling alcoholic loon. We see cereal-world versions of the Zapruder film and even the January 6 insurrection, with Hugh Grant , as the haughty British thespian who’s the voice of Tony the Tiger, leading a strike of the Kellogg’s mascots.

The acting is cartoon lite: casually broad sketch-comedy mugging, which is why Jerry (who is great at playing himself, but not really an actor) fits right in. Most of the jokes are LOL rather than guffaw-worthy. But I confess that I chuckled at the sheer insanity of how the movie deals with the naming of the Pop-Tart. The genius name that Bob and his team have come up with is…the Trat-Pop. It will take Walter Cronkite puttering around with Silly Putty to set that right. “Unfrosted,” in its way, is a quintessential comedian’s movie. It thumbs its nose at everything without necessarily believing in anything. Yet it has an agreeable crunch.

Reviewed online, May 1, 2024. MPAA Rating: PG-13. Running time: 93 MIN.

• Production: A Netflix release of a Columbus 81, Skyview Entertainment, Good One production. Producers: Jerry Seinfeld, Spike Feresten, Beau Bauman. Executive producers: Andy Robin, Barry Marder, Cherylanne Martin.
• Crew: Director: Jerry Seinfeld. Screenplay: Jerry Seinfeld, Spike Feresten, Andy Robin, Barry Marder. Camera: William Pope. Editor: Evan Henke. Music: Christophe Beck.
• With: Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Max Greenfield, Hugh Grant, Amy Schumer, Peter Dinklage, Christian Slater, Bill Burr, Dany Levy, James Marsden, Mikey Day, Cedric the Entetertainer, Fred Armisen, Jon Hamm.

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360 (2012) Stream and Watch Online

Watch '360' online.

Fancy watching ' 360 ' on your TV, phone, or tablet? Searching for a streaming service to buy, rent, download, or watch the Fernando Meirelles-directed movie via subscription can be a huge pain, so we here at Moviefone want to do the work for you. We've listed a number of streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of '360' on each platform when they are available. Now, before we get into the various whats and wheres of how you can watch '360' right now, here are some details about the BBC Film, O2 Filmes, Revolution Films, Wild Bunch, Unison Films, BBC Films, Hero Entertainment, Dor Film, Fidélité Films, ORF romance flick. Released August 3rd, 2012, '360' stars Rachel Weisz , Jude Law , Ben Foster , Anthony Hopkins The R movie has a runtime of about 1 hr 50 min, and received a user score of 57 (out of 100) on TMDb, which compiled reviews from 263 experienced users. What, so now you want to know what the movie's about? Here's the plot: "A disparate group of characters unknowingly bond by the sexual choices they make. Consumed by loneliness, a British businessman ponders a rendezvous with a prostitute. The businessman's wife prepares to call it quits with her younger lover. A Brazilian student breaks up with her boyfriend in London. A recovering alcoholic travels to Phoenix in search of his missing daughter. A paroled sex offender struggles to stay composed when propositioned in a Denver airport. A widower's religious devotion is put to a difficult test." '360' is currently available to rent, purchase, or stream via subscription on Apple iTunes, Hulu , Plex, Amazon Video, Vudu, VUDU Free, DistroTV, Amazon Prime Video , Google Play Movies, Amazon Prime Video with Ads, Plex Channel, YouTube, Tubi TV, and Pluto TV .

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Ryan Gosling is 'The Fall Guy' in this cheerfully nonsensical stuntman thriller

Justin Chang

Ryan Gosling is Colt Seavers in The Fall Guy. Universal Pictures hide caption

Ryan Gosling is Colt Seavers in The Fall Guy.

From the 1933 action film Lucky Devils to the 1980 comedy-thriller The Stunt Man to Quentin Tarantino 's Once Upon a Time ... in Hollywood , filmmakers have long delighted in turning the camera on stunt performers, those professional daredevils who risk life and limb to make action scenes look convincing.

It's a hard, often thankless job, which is why for years people have lobbied the motion picture academy to present an Oscar for stunt work. And of course, it's a dangerous job: Just last month, while shooting the Eddie Murphy movie The Pickup , several crew members were injured during a stunt involving two rolling cars.

There's a lot of vehicular mayhem in the noisily diverting new action-comedy The Fall Guy , a feature-length reboot of the '80s TV series. Ryan Gosling stars as a highly skilled stunt performer named Colt Seavers, who, despite his cynical film-noir-style voiceover, genuinely loves his job.

Colt loves movies and moviemaking, loves hurling himself off balconies and strapping himself into soon-to-be-totaled automobiles. Most of all, he loves Jody Moreno, an up-and-coming assistant director played by Emily Blunt , and she loves him right back.

Ryan Gosling and Emily Blunt star in The Fall Guy. Universal Pictures hide caption

Ryan Gosling and Emily Blunt star in The Fall Guy.

Colt works mainly as a stunt double for Tom Ryder, a world-famous movie star played by a preening Aaron Taylor-Johnson. But when Colt suffers a life-threatening injury on the set, he quits the biz in despair and ghosts Jody for more than a year while he recovers. But then he learns that Jody is directing a big-budget sci-fi movie in Sydney and wants him to be Tom's stunt double again. Upon arriving Down Under, however, Colt finds out that Jody did not ask for him and has no idea why he's here.

The reason for Colt's appearance on the set is one mystery in a cheerfully nonsensical thriller plot devised by the screenwriter Drew Pearce. There's also a body in a bathtub, an incriminating cell phone and several amusing side characters, including a busybody producer played by Hannah Waddingham of Ted Lasso fame.

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Another key player is Colt's best friend and stunt coordinator, Dan, played by the always excellent Winston Duke . In one endearing running gag, Colt and Dan keep quoting dialogue from classic films like The Last of the Mohicans , The Fugitive and The Lord of the Rings trilogy, all of which The Fall Guy giddily tries to outdo in its sheer volume of death-defying mayhem.

Before long, Colt isn't just performing stunts. He's forced to put his well-honed survival skills to good use off the set, whether he's beating up thugs in a nightclub, punching villains in a helicopter or getting tossed around in the back of a speeding garbage truck. That's one of several set-pieces that the director David Leitch opted to shoot using practical techniques, rather than CGI — a decision that gives this stunt-centric movie an undeniable integrity.

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The Fall Guy is undoubtedly a passion project for Leitch, who once worked as a stunt double for actors including Brad Pitt and Jean-Claude Van Damme. (He nods to this by giving Colt a handy canine companion named Jean-Claude.) Leitch can direct action beautifully, as he did in the Charlize Theron smash-'em-up Atomic Blonde . But he can also go too flamboyantly over-the-top, as in sloppier recent efforts like Bullet Train and Hobbs & Shaw . The Fall Guy is better than those two, but it would have been better still with cleaner action, tighter editing and a running time south of two hours.

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Blunt is such a good comedian and action star that it's a shame she doesn't get more to do in either department; Jody may be in the director's chair, but as a character, she's mainly a second banana. The Fall Guy is Gosling's picture. Unlike the brooding, taciturn stuntmen the actor played in Drive and The Place Beyond the Pines , Colt is a wonderfully expressive goofball. There's a moment here, after a fiery boat chase around Sydney Harbour, when Colt emerges triumphant from the water, clothes dripping and muscles bulging, while a euphoric cover of Kiss' "I Was Made for Lovin' You" surges for the umpteenth time on the soundtrack. It's ridiculous and gloriously overwrought — and like the best-executed stunts, it comes perilously close to movie magic.

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Fans can access 220+ live Pittsburgh Pirates and Pittsburgh Penguins games each year, plus SNP’s extensive pre and postgame coverage, hundreds of live college sports games, behind-the-scenes access shows, and more.

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SNP 360 is not compatible with Roku , Android Phone/Tablet , PlayStation , Xbox , Nintendo , LG Smart TV , or Samsung Smart TV devices.

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‘The Idea of You’ Review: Surviving Celebrity

Anne Hathaway headlines a movie that’s got a lot to say about the perils of fame.

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By Alissa Wilkinson

Women of a certain age (that is, my age) feel like they grew up alongside Anne Hathaway, because, well, we did. We were awkward teens together when she made “The Princess Diaries” in 2001. We felt ourselves to be put-upon entry-level hirelings right when “The Devil Wears Prada” came out in 2006. We understood her broken-down narcissistic addict in “Rachel Getting Married,” because who couldn’t? And we watched the Hathaway backlash, pegged to public perception that she was trying too hard, and worried that people saw us the same way.

Now we’re 40-ish. We know for sure that Gen Z considers millennials to be cringe, and, thankfully, we no longer feel the need to care. The greatest gift of reaching middle age is having settled into yourself, and that is apparently what Hathaway, age 41, has done . She has been through the celebrity wringer (and more ) and come out the other side looking radiant, with a long list of credits in movies that swing from standard commercial fare to auteurist masterpieces.

This is perhaps why it’s so satisfying to see her name come first — alone, before the title credit — in “The Idea of You,” which is on its surface a relatively fluffy little film. Based on the sleeper hit novel by Robinne Lee, “The Idea of You” is plainly fantasy, in the fan fiction mold, that poses the question: What if Harry Styles, the British megastar and former frontman of One Direction, fell madly in love with a hot 40-year-old mom? In this universe, the Styles character is Hayes Campbell (Nicholas Galitzine), the British frontman of a five-member boy band called August Moon.

Hathaway plays Solène Marchand, an art gallery owner whose arrogantly useless ex-husband, Daniel (Reid Scott), buys v.i.p. meet-and-greet tickets for their 16-year-old daughter, Izzy (Ella Rubin), and her two best friends, all of whom were huge August Moon fans … in the seventh grade.

The event is at Coachella, and Daniel is set to take the teenagers but backs out at the last second, citing a work emergency. Solène reluctantly agrees to take them, and while at the festival, mistakes Hayes’s trailer for the bathroom. They meet, it’s cute, and you can guess what happens next.

Or can you? It was clear about 10 minutes into the movie that what was required for enjoyment was to surrender to the daydreaming, and so, with very little internal protest, I did. How could I resist? Solène is smart, competent, kind and secure; she has great hair and a great wardrobe; and most important, she seems like a real person, even if the situation in which she finds herself greatly stretches the bonds of credibility.

More than once, I was struck by how authentically 40 Solène seemed to me — a woman capable of making her own decisions, even ones she thinks might be ill-advised — and how weirdly rare it is to see that kind of character in a movie. She has a kid, and friends, and a career. She reads books and looks at art, and she is flattered by this 24-year-old superstar’s attention but takes a long time to come around to the idea that it may not be a joke.

Solène also feels real shame and real resolve in the course of the winding fairy tale story, which predictably has to go south. But most of all, she’s in a movie that doesn’t try to shame her, or patronize her, or make her appear ridiculous for having desires and fantasies of her own. She’s just who she is, and it’s simple to understand her appeal to someone whose life has never been his own.

Directed by Michael Showalter, who wrote the adapted screenplay with Jennifer Westfeldt, “The Idea of You” succeeds mostly because of Hathaway’s performance, though she and Galitzine spark and banter pleasurably (and he can dance and sing, too). It tweaks the novel in a number of ways — Hayes is older than the book’s character, for one thing — and also seems to implicitly know it’s a movie, and that movies have a strange relationship with age-gap romances.

In fact, that’s one of its strengths. Several times, characters remark on the double standard attached to people’s judgment of Solène and Hayes’s relationship, hypothesizing that in a gender-swapped situation, people would be high-fiving the older man who landed the hot younger star. Sixteen years looks like a lot on paper, but in the movies, at least, it is barely a blip.

That musing is interesting enough, if a familiar one. More fascinating in “The Idea of You” is its treatment of the cage of celebrity. Hayes seems mature compared with his bandmates and the girls who follow them around, but he’s also clearly stuck in some kind of arrested development. And I do mean stuck: He is self-aware enough to tell Solène, plaintively, that he auditioned for the band when he was 14 and not much has changed beyond his level of fame. He wants a life beyond the spotlight, badly.

And that’s just what he can’t get. Neither can Solène, nor, eventually, anyone around her. The idea of living a quiet life might obviously be out of reach, but the added elements of tabloid news and rabid fans unafraid to treat Hayes as if they know him make things far worse. The film starts to feel a little like the tale of a monster, but the monster is parasociality, encouraged by the illusion of intimacy that the modern superstar machine relies on to keep selling tickets and merch and albums and whatever else keeps the star in the spotlight.

It’s probably coincidental that “The Idea of You” comes on the heels of Taylor Swift’s latest album, “The Tortured Poets Department,” on which she strongly implies that her carefully cultivated fandom has made her love life a nightmare. But spiritually, at least, they’re of a piece — even if the origins of the film’s plot seem as much borne of parasociality as a critique of it. And that makes Hathaway’s performance extra poignant. She’s been dragged into that buzz saw before. And somehow, she’s figured out how to make a life on the other side of it.

The Idea of You Rated R for getting hot and heavy, plus some language. Running time: 1 hour 55 minutes. Watch on Prime Video .

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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Review: The simians sizzle, but story fizzles in new 'Kingdom of the Planet of the Apes'

The issue of humans and simians in existential conflict arises again in a new “Planet of the Apes,” this time with a coming-of-age sci-fi adventure that’s a piece of visually stunning world-building more thoughtful than coherent.

“Kingdom of the Planet of the Apes” (★★★ out of four; rated PG-13; in theaters Friday) is a sequel to the stellar “Apes” trilogy led by Andy Serkis’ iconic chimpanzee leader Caesar, set in a landscape where people have gone feral while super-smart apes rule thanks to a man-made virus. Director Wes Ball ( “Maze Runner” ) is a proven commodity in the post-apocalyptic space, and “Kingdom” aims to bring big ideas into a sprawling blockbuster atmosphere, though that gambit winds up weighed down by its own ambitions. 

The new “Apes” is set “many generations later” after the death of Caesar, a kind and compassionate sort who believed humans and apes could one day live together. His specter looms large over “Kingdom,” which centers on a naive young chimp named Noa (played via performance capture by Owen Teague) and an Earth where nature has reclaimed the land. Noa and his friends, Anaya (Travis Jeffery) and Soona (Lydia Peckham), ready for a big day in their lives among the Eagle Clan – so called because of the birds they raise. But the peaceful existence in their village is disrupted by a brutal attack from a horde of masked apes, who burn Noa’s home and leave him for dead.

Noa wakes, battered and vowing to save his friends and family who’ve been taken, and he first falls in with Raka (Peter Macon), a wise orangutan who lives by Caesar’s idealistic beliefs. They meet a young human named Mae (Freya Allan), who’s at first distrustful of her new allies until they save her from the same big bad apes that torched Noa’s village.

The trio learns these villains are goons for the tyrannical bonobo Proximus Caesar (Kevin Durand). Ruling a coastal kingdom of apes, Proximus has taken Caesar’s name yet twists his words to force his prisoners to crack a large vault and plumb the mysterious human treasures within. He’s both a fan of mankind and a symbol of our innate cruelty in ape form.

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Just like the previous films, the main draw is the apes themselves, computer-generated simian wonders who immerse audiences into their world. They look better than ever, with Noa’s tearful eyes delivering so much fragility and emotion in a close-up after a tragic scene, and the performance-capture wizardry, a signature aspect of these new "Apes" movies, feels more groundbreaking than ever.

At the same time, none of the major players in "Kingdom" reach the same level of acting or personality as Serkis’ Caesar. That is an extremely high bar, though, and there are some pretty great apes: Teague's Noa grows on you because of his plight while Macon makes Raka a scene-stealing hoot with a kind soul. Allan, a regular on Netflix’s “The Witcher,” also shines in a meaty role as a human who’s more complicated than she appears.

The early “Apes” movies from the ‘60s and '70s were defined by genre innovation and shock endings, and the Caesar movies were simply a great tale well told. “Kingdom” is less confident in its storytelling: It explores themes of legacy and species coexistence with a metaphor-laden plot that feels too long at 2½ hours, and it begs for more exposition at the beginning before overdoing it later on. The movie ultimately does satisfy by its end, even as it emphasizes philosophy and message over logical narrative choices.

“Kingdom” checks most of the boxes for longtime “Apes” fans, and newbies don’t need to any prior homework as a standalone story that mostly explains itself. And as humans, you do commiserate with the onscreen apes themselves, because everything felt a little better back when Caesar was around.