
Bradley Cooper stars as a defense worker who teams up with a pilot (Emma Stone) to stop a satellite launch in this romantic comedy from Cameron Crowe. Rachel McAdams co-stars. ~ Jeremy Wheeler, Rovi
About Aloha
Artist : Emma Stone, Rachel McAdams, Bradley Cooper, John Krasinski, Ivana Milicevic, Bill Murray, Jay Baruchel, Alec Baldwin, Danny McBride, Sugar Lyn Beard, Jaeden Lieberher, Edi Gathegi, Michael Chernus, Danielle Rose Russell, Yousuf AzamiAs : Ng, Tracy, Brian Gilcrest, Woody, Carson Welch, General Dixon, Colonel Lacy, Benedict, Mitchell, Cam Curtis, Grace, Afghan Tribesman
Title : Aloha 2015 Watching Filmes
Release date : 2015-05-29
Movie Code : 1243974
Duration : 101
Category : Drama
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The plot is a hash when it's not a drag, and the 100-odd-minute cut of the film arriving in theaters on Friday seems hacked from something longer and baggier.

Where to begin with Aloha? Begin by not going to the movie.

Another fascinating mess from an earnest and occasionally excellent filmmaker who can't seem to recreate the enveloping magic and charm of his earlier films.

Blessed with a stellar cast and idyllic locale, Crowe seems reluctant to waste anything, including his own half-baked themes.

For all the screwball patter, smart-aleck similes, and zingy one-liners that Crowe has handed his mismatched cast, a kerplunking emptiness runs through Aloha.

Cameron Crowe writes movies like he's calling us in eighth grade with his heart on fire.

At least this feels like a Cameron Crowe movie.

Even if this were well made in a technical sense, it would still be a weird heap of patriotism, astronomy, and Hawaiian folklore, piled atop a pat and predictable love story.

"Aloha" isn't horrible, but it does have a pitiable odor about it, like a dog that's sat too long on the beach.

How delightful to see a film that begins and closes in outer space be so warmly stargazing.

"Aloha" is as generic as its title. The islands exist solely as an exotic backdrop for the pretty Hollywood haoles to play in. Business as usual, and I never thought I'd say that about a Cameron Crowe movie.

Crowe is deft at keeping the various plots spinning, but there are too many of them, and they don't intersect pleasingly.

This is the kind of film that is easier to mock than to grapple with on its own terms. It's littered with flaws, but sometimes those movies can be the most interesting ones. The Aloha cult fan club is officially open. I'll take one ticket, please.

There are grand, romantic speeches that will endure forever from Crowe's earlier work - "Jerry Maguire," "Say Anything . . ." - but you can't build an entire movie on them. Nobody wants two hours of "You had me at hello."

Crowe displays a willingness to reach for ambitious ideas and big-hearted, emotionally naked moments that other name-brand filmmakers are too terrified to explore. Aloha is a big mess, but it's also at war with American cynicism, and wars get messy.

I've never seen a movie quite like Aloha. That's meant neither as praise nor as a backhanded compliment; it's offered more in the spirit of one hand clapping.

"Aloha" is one of those films whose characters behave and speak so irrationally that they no longer make any human sense at all. Crowe may have had us at hello, but he's losing us with "Aloha."

The deepest understanding we get of any of these characters is that none of them would say the things that Crowe makes come out of their mouths.

"Aloha" feels like several films at once, crammed together and sped up, with results that are emotionally hollow and narratively confusing.

A delayed and dismal attempt to marry screwball comedy with socially aware drama.

The first encounter among Cooper, McAdams and Stone is so awkward and unsettled that it becomes the movie's own albatross. There are some moments, most of them thanks to McAdams.

It comes at us in choppy bursts of brilliance and dopiness. That is at once its great charm and its great curse.

Aloha, for all its spasms of charm, feels like a push-button romance, its heroes glibly spouting lines with the hope that the words come to mean something.

It's hard to find a level on which Aloha works. It's a murky, muddled mess.

Unbalanced, unwieldy, and at times nearly unintelligible, Aloha is unquestionably Cameron Crowe's worst film.

The result is a movie that's well-meaning but nearly unwatchable. Stay home and watch a better Crowe movie instead, and ponder what went wrong.

Aloha is such an inchoate mess, such a forced, insular, self-pleasing misfire, that plotting it out can be a challenge.

Crowe introduces a serious topic without really examining it, and even the romance feels off, with a pair of lovers who seem mismatched. To complete the picture, Crowe tags on an ending that's convenient but not convincing.

None of this "works." But it usually worked on me.

Aloha is a marshmallow of a film: soft on the inside, soft on the outside and wholly devoid of substance.

It's a big soap opera set against blastoffs, none of which is convincing.

It happens. Really talented directors sometimes step into the batter's box, take a gigantic swing, and whiff.

Aloha is a great-looking movie with just enough bright spots to get us past the cloudy moments.

If Aloha's earthbound elements are uneven, its rocket-launch aspects are downright confounding.

Now, Cameron Crowe's name above the title feels less like an invitation, and more like a warning.

Even with its off-balance, overstuffed storytelling, the film maintains a charm and energy that never flags, with brisk pacing and generally engaging performances from its deep-bench cast.

Filmmaker Cameron Crowe can't catch a break with Aloha, a Hawaii-set romcom that is a handful of stories struggling for a unifying tone, but is nowhere near as toxic as its advance buzz.

This is a romantic comedy that has more than hearts on its mind. In addition to teasing the uneasy and complicated partnership of the military and the private sector, Crowe takes on issues integral to Hawaii.

Perhaps the energy Crowe could have expended on shaping believable characters went instead to the cultural context.
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