I had to turn of the TV during a severe electrical storm so I haven't yet seen the ending of THE FULL MONTY, but from all that I did see it manages to be a good mixture of comedy and drama with a lot of touching moments along the way.
Thanks to great leading performances by ROBERT CARLYLE and TOM WILKINSON, it's original enough to keep you watching and wondering how the whole thing will play out. But I have the feeling that this will find a much more receptive audience among British film-goers than those here in the U.S. who are not accustomed to seeing an unlikely bunch of men vying to become male strippers.
One of the film's greatest moments is the employment line scene, where the unemployed are lined up while a disco is playing one of the songs they've rehearsed. Their subconscious takes over, and little by little each man starts stepping in time to the disco song.
I have to catch this again to see the complete film, but I can understand the appeal it has for audiences here and abroad--except that, in my case, I found it necessary to switch on the caption feature to catch some of the British slang which does not fall easily on American ears.
Touching and humorous, although a bit slow-paced in spots, it has me waiting and wanting to see the final act. All of the bawdy humor is strictly in British style.
One criticism: The gay subplot seemed to come out of nowhere.
Thanks to great leading performances by ROBERT CARLYLE and TOM WILKINSON, it's original enough to keep you watching and wondering how the whole thing will play out. But I have the feeling that this will find a much more receptive audience among British film-goers than those here in the U.S. who are not accustomed to seeing an unlikely bunch of men vying to become male strippers.
One of the film's greatest moments is the employment line scene, where the unemployed are lined up while a disco is playing one of the songs they've rehearsed. Their subconscious takes over, and little by little each man starts stepping in time to the disco song.
I have to catch this again to see the complete film, but I can understand the appeal it has for audiences here and abroad--except that, in my case, I found it necessary to switch on the caption feature to catch some of the British slang which does not fall easily on American ears.
Touching and humorous, although a bit slow-paced in spots, it has me waiting and wanting to see the final act. All of the bawdy humor is strictly in British style.
One criticism: The gay subplot seemed to come out of nowhere.