I like the storyline of this show,it attract me so much

Simply Perfect

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Of my all-time favourite films.I just read a splendid review,her, by 'noreaster13,' and I highly recommend it, as what they say, is exactly what I would.Hollywood (as an unspoken rule), rarely puts mature women (over 40) into lead roles, and thank goodness for Ms. Rowlands and her husband, the late director, John Cassavetes, for creating this tribute to Ms. Rowlands talent, and to and for those mature women, who are silenced in a culture that has, and still does - favour youth.Shameful to do do, because, I always felt, as the saying goes, 'youth is wasted on the young.'Ms. Rowland's Gloria Swenson - 'a nod to Gloria Swanson,' as a reporter says of Gloria, is a woman who lived her earlier days as arm-candy, to the men of the underworld, and, smartly realised that, as she 'd get older, she'd have no one, but, herself, to be there for her.She's over the 40-year mark, and has undoubtedly been replaced, but, still maintains a cordial relationship with those men, and their associates.Doing so, means fading - into the background, and - if lucky, they might, perhaps, throw her a bone, as it were, on the rare-occasion she needs a little help getting by, but, Gloria is, above all, a self-reliant woman, not school-smart, but very street-smart, and that and her wits has gotten he by.Thrown into this solitary existence - one she describes as 'having my friends, my apartment, and my cat,' is the 6-year old neighbour's boy, Phil Dawn, the son of a mob accountant, who, has crossed the code of silence, and is now a dead man - literally.In an early scene, after Gloria and Phil (the 'kid') escape down a staircase, Gloria - alone on a street corner, with Phil, realises the predicament she's now in, and says, 'the guys who killed your family, are friends of mine.''My feet are falling off, I can't run anymore, what am I doing here?'And, with these words, she realises her isolation, and as a car full of those men, who they just escaped from come careening to a halt, aside Gloria and Phil, who say, they; 'got no issue with you, we just want the book, and the boy,' to which Gloria realises the truth; if she turns him over, he's dead.For what? Just being the son of the mob accountant? A 6-year old, who 'can't even speak English (of course, he can), and doesn't know anything?'Yes - just, because.With this exchange, she realises she's to make a choice, which will alter her future - if she's going to survive.She didn't look for being Phil's saviour, and Phil didn't ask, either, but, through circumstance, and fate, it is meant to be, and in order for them both to live, they must stay together.I've never seen the remake, and I know no one could step into the (high heeled) shoes of Gloria, which Ms. Rowlands embodies so beautifully.As the 2 become enmeshed in saving each others lives, one of my favourite lines is spoken by Phil, as a snooty hotel clerk refuses them a room; ''He don't know the score, he sees a dame like you, and a guy like me, he don't know.'This film - to paraphrase 'noreaster13,' is the result of 'adult filmmakers making a film for adults,' a rarity, today. It's gritty, it's not a connect-the dots' story, which is easily predictable.I highly recommend this film for those who haven't yet seen it, and even for those who have, such as myself..

Gloria Swenson's a gun moll all growed up. The mob ain't got time for her no more, and instead of getting' her kicks like she did in the good 'ole days, she lives alone with her cat in a crappy joint in the slums of New York. It ain't much, but it's something, and she's gotta live, ya know? Now get lost.Gloria may have a sordid past in her wake, but she is certainly not a floozy with a few wrinkles too many. She is a tough-as-nails presence that has been around the block plenty of times, unafraid of anything except maybe the cold eyes of death. Gloria is also portrayed by Gena Rowlands, and Gloria is directed by John Cassavetes, her husband.Gena Rowlands and John Cassavetes are national treasures, but when your finest pieces of work are confined to ambitiously outlandish independent films, you're bound to only be remembered by the critics who don't have much fun watching Vin Diesel's newest vehicle. They teamed up seven times, but Gloria is the closest thing they ever got to the word "conventional." Despite a slightly over-the-top soundtrack, possibly a quirk added by the mercurial Cassavetes, gone are his usual touches of slapped around camera-work and obvious improvisations. With Gloria, he's an auteur taking a vacation, and it makes for one of his most entertaining, if not one of his deepest, projects.The movie begins in ruins; Jack Dawn (Buck Henry) has made the mistake of double-crossing the mob. Not only has he been skimming money from the profits of their various crimes, but he has also been acting as an informant for the FBI. He, along with his family, are barricaded in a crammed apartment, attempting to hold off hired guns for as long as possible. Then Gloria, a neighbor, comes knocking on their door. She wants to borrow sugar, but instead gets Jack's son, Phil (John Adames). Then the inevitable happens: Phil is orphaned, and Gloria, reluctantly, is forced to take him in. Problem is, the mob knows about it. After this set-up pulls through, the rest of the film acts as a punchy and darkly funny game of cat-and-mouse between Gloria, her newfound Puerto Rican child friend, and, well, the mob.Gloria's only downfall is that it becomes a little monotonous after a while — you can only handle Phil running away and Gloria having to chase after him for so long — but it's much too lovable to really get on your nerves. For once, Cassavetes backs off and lets Rowlands be the star of the show; in the past, it was as if Cassavetes and Rowlands were headlining together (not a bad thing), looking like the cool boho versions of Fred Astaire and Ginger Rogers. But even Ginger Rogers had to have Kitty Foyle all to herself.Everything about Rowlands — her light but steely Wisconsin accent, her big hair, her hastily put-on red lipstick, her cheap high heels — is dynamite. In her other films with Cassavetes (1974's A Woman Under the Influence, 1977's Opening Night), she has had to pour out every emotion she's ever felt, as if she were stripping naked in front of a crowd. But in Gloria, it's clear that she's having fun. Rowlands carries a gun with imposing authority, like a street tough that surprises you with their scrappiness. Even better is her chemistry with the loud and unintentionally funny Adames, who spits out every line with bracing liberation. Gloria is engaging but intimidating, but Phil doesn't much care, and when she can't turn her usual tricks to get him to behave, the playfulness of the film climbs every mountain and fords every stream.Gloria runs a little long at two hours, but it isn't without its charms. Rowlands is a wonderful, wonderful actress, and there isn't a second of the film where we don't ask ourselves what we did to deserve a talent this great in the movie business. I adore Cassavetes with just as much fuss, but this time around, it isn't his show. It's hers, and that's not a bad thing.

Follow the tough-as-nails Gloria as she hopscotches all over NYC with a kid in tow, from subway to train to taxi to bus. This is the most non-linear film I've ever seen, it plays out as more of an experimental film than a mainstream piece. That the character of Gloria is the focus of the camera in almost every single scene implies that this is more of a character study than a mob movie, an idea confirmed by its title. I was startled to realize how similar this film is to the Pope of Greenwich Village, with the same kind of rambling, non-linear storytelling style.The most fascinating thing about this film is that Gloria is so guarded that you can never read her motives...any moment something startling could happen. When a car full of mobsters pulls up and demands that she hand over Phil, the boy, Gloria hauls out a piece and blows them back to the stone age; it's a scene that is completely unexpected, and you find yourself admiring her. In another scene, they journey to a diner and sit down for a meal, then she gets up and begins talking to a group of men at a table in the background, and you suddenly realize that she didn't just randomly choose this restaurant, she came to make a deal with the mobsters; it's so unexpected, nothing in this film is what you expect it to be, there is a surprise around every corner. Cassavetes apparently wanted to keep you guessing, and one can imagine him dismissing cliché after cliché from the screenplay until it was completely original.Gena Rowlands is marvelous; with her poker face, she calmly deals with one crisis after another, casually solving her problems with her gun or her intellect, which she honed on the streets after years of being involved with the mob. As the film progresses, her weary cynicism gradually erodes to affection for the little boy she initially disliked. This film is refreshingly original.

Gena Rowlands is Gloria, a friend of the mob in New York City. She lives in a shabby Bronx apartment house and is entertaining the six-year-old son of a neighboring family, John Adames, when the rest of the family -- a miscast Buck Henry as an FBI informant, his succulent Puerto Rican wife, their daughter, and their wizened abuelita -- are blown away by the goon squad. They need to kill Adames too. Those are the rules.The uncertain and somewhat guilty Rowlands, who hates kids, takes off with him. They are pursued from hotel to hotel, from train station to subway, by hit men. Gloria is a tough babe, though, and is always quickest on the draw, though rarely more than one step ahead of her executioners.It's hardly an unfamiliar armature. An urban person who has no use for children is suddenly saddled with one and must take care of him or her. In the course of many tribulations, they bond. The now-humanized rogue rides into the sunset with his new companion. Charlie Chaplin's "The Kid" is one of the more entertaining examples.This film, though, was directed by John Cassavetes, famous for his mostly improvised and impeccably dull slices of life. Please, God -- no more Zorbas.This is Cassavetes' most structured and conventional movie and, like Orson Welles' "The Stranger," it mostly succeeds in its attempted mixture of poetry and commercialism.Let me get the weaknesses out of the way. First of all, the Mafia not only want to blow away Buck Henry and his family; they also want the black notebook he's been keeping, the one labeled "MacGuffin." And Henry gives the book to his little BOY and tells him to keep it? Why? Almost all of the dialog sounds written and rehearsed but some is clearly made up on the spot. The impromptu lines come from the kid, which is a shame. It's bad enough that little Adames can't act, but for Cassavetes to urge him to improvise dialog almost turns into child abuse, especially when it comes out like, "Good-bye, you sucker, you little insect." And Buck Henry as the terrified family man about to squeal on the Mafia. How did he get the role? And the climactic scene has Adames running -- in slow motion -- towards an open-armed Rowland while the score tells us this is a happy ending, just in case we missed it.So much for the bad stuff. The rest is quirky -- and I don't mean that negatively. I'll just give examples from two scenes.(1) The mob shows up at Buck Henry's apartment and the halls echo with shotgun blasts. (Cassavetes doesn't show us the killings, just the family sitting around waiting to be slaughtered.) Now, in an "ordinary" action movie, the echoes would no sooner have died down than we would hear police sirens in the background. Not here. The hoods take their time poking around Henry's apartment while looking for the little black book. No hurry, folks. The police response time here is geared to reality, not to movie conventions.(2) Gloria barely manages to sneak out of another apartment house with the kid and the MacGuffin and must make a quick escape before the hit men reach her. In most movies, the pursued runs into the street, yells "Taxi!", and a cab screeches to an immediate halt in front of him. Or maybe there's one already waiting at the curb. Here, she calls out furiously and waves her hand and the taxis whiz by as they do in real life.Adames is no actor, as I've said, but at least he's not cute in any stereotypical way. And he never cries. The sentimentality is kept within reasonable bounds. Gena Rowlands is aging but still beautiful, even when cheaply made up and wearing sleazy pleated skirts and jackets that look like some kind of polyester or fake silk. She's thoroughly deglamorized, as she should be -- not old, but worn and a little frayed around the edges like a library book that has been checked out often. In the bad old days, Barbara Stanwyck could have waltzed through this part.Rowlands is from Wisconsin, though, and it shows in her speech. ("Cooled" instead of "cold.") It doesn't sound right when she attempts a New York accent but it doesn't exactly sound wrong either. It's kind of like a comfortable Mid-western pasture that's been littered with garbage and flaps of raggedy paper and planted with graffiti-laden signs.Boy, did Cassavetes have an eye for locations. Who else would have shot a scene of Newark's Penn Station IN Newark's Penn Station? The place isn't appallingly seedy, nor is it as clean and rococo as Moscow. It has nothing like Grand Central's Oyster Bar. It's simply uninteresting.I wish -- come to think of it -- that Cassavetes' script had been a little more taut, more thought-out and convincing, where the central relationship between Rowlands and Adames is concerned. The exchanges alternate between spiteful barbs and little understated caresses and are at no point believable.Still, this is an original work and well worth catching.