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

hyped garbage

Great Film overall

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

I'm a Linklater fan. Waking Life is among my top five favorite movies. The Before Trilogy awakened me to the true power of dialogue in film. This Linklater film, however, was way more frustrating than satisfying to watch, and the dialogue was, far too often, a mind-gamey labyrinth of petty sarcasm, passive-aggressive antagonizing, manipulation, and verbal circumnavigation. There were so few moments of clarity, if any, which to the writer's benefit, may have been the point. The prospect of this being the intention, for me, was the only redeeming factor of this movie.Ten years out from high school, old but distant friends Vince (Hawke) and Johnny (Leonard) reunite in a hotel room in Lansing, MI for the debut of Johnny's first independent film at a nearby film festival. Vince is a somewhat volatile and immature Oakland drug-dealer who recently broke it off with his girlfriend of 3 years; his character is the defensive screw-up whose misery loves company. John is his foil, apparently more stable, idealistic, but whose sense of self isn't very concrete but can still come off inflated, especially when in the same room with Vince. Amy (Thurman) is an old fling for both male characters, but in a way that, whenever brought up, inspires ancient unresolved tensions centered on a nebulous incident in high school, the exploration of which drives the majority of the movie. I think the dialogue was smart from the standpoint of it demonstrating the emotional and manipulative power that words can wield and the haziness of recollection, but in the broader scope of the movie, over time even the characters themselves got lost in what they were talking about! This is when even an iota of clarity could have saved the movie for me. But for me it never came, which felt unjustified because these are supposed to be ADULTS talking, and none of them can seem to muster a straightforward statement. Hence, this film left me resentfully asking the same question plaguing the characters to the end, "What are we even talking about?"

Tape begins with a seedy motel room. It ends in a seedy motel room -- in Lansing Michigan no less; home of the World's Largest Lugnut. It goes nowhere in between. To be more brutally honest I must say this abomination, this pile of steaming excrement, just sat on my wall screen and stunk up the room. It is so awful that words can barely describe its true awfulness.Two beta males, no, make that epsilon minus males -- have a completely boring conversation in which the more effeminate (therefore successful) asks prying questions about his pal's sex life. It's something that has bugged me since high school leading to questions like, "are you tapping that?" This pathetic bitchiness gets worse until Uma Thurman brightens the scenery. Then the dialogue gets much more abominable. She manipulates these pathetic excuses for men mervilessly.Quite frankly, I came away from this whole ordeal hoping the worst for all three of these jerks. The four minutes it took for the cops to show up lasted for an eternity, but disappointed nevertheless. I hate this film.

Good plot. Strong performance by Ethan Hawke. And Uma Thurman and Robert Sean Leonard were both equally meticulous. It's hard to guess what you're in for. I watched this movie with no prior expectations and the plot confirmed that it's the correct way to watch a movie like this. With that said, sometimes the movie feels a little slow, albeit it's not that much of a problem because the movie soon picks up pace and catches your attention back.Don't go looking for moral lessons in it, though if you look hard enough you may find some.Overall, a fantastic movie totally driven by marvellous plot and strong performances. In the end, I came out jollier and more refreshed than I was going in.

Richard Linklater is your guy when it comes to a little number of people or a focused and limited space. "Tape" is probably one of the best examples of his craft as a director, because he did not write the script, and it involves only three characters in the same place: a hotel room. For less than an hour and half, Linklater takes these people to heaven, drags them to hell; and takes them up and down for a while more.OK: I might be exaggerating a little, but not too much. The tension and unusual suspense we find in a small room in "Tape" is comparable to the typical one we find in a whole city in "The Sixth Sense". I'm talking about the unusual suspense that makes you want to bite your nails because you feel as nervous as the characters.Based on his own stage play, Stephen Belber's script narrates the encounter Vince (Linklater regular Ethan Hawke) and John (Robert Sean Leonard), two very good friends, have with Amy (Uma Thurman), about something that happened ten years before, during high school. Vince is a drug-addict/dealer, John a filmmaker and Amy a district attorney…I'll leave it there.The film has a theater play look; but it is essentially a film. This is what Linklater never forgets when he is working: that he is making movies. You wouldn't get his multiple shots, unpredictable close-ups that seem amateurish on purpose on a theater stage. And it is true that the magic of theater is that you don't get a second chance if you mess up but, to tell the truth; "Tape" looks like it was shot without pause, or at least Linklater makes us believe so.It's a delicate work by Maryse Alberti and Sandra Adair, director of photography and editor, respectively. The film changes the mood constantly and the camera is the main element present to show that, while the edition must go along with it. The way in which the characters ask daring questions and raise the tone of their voices is accurately shown in this attentive technical work.The performances are the core of the piece and, thanks to Linklater, are unquestionably top- notch. Angry and ironical, Ethan Hawke plays Vince in an over the top way that's not enough over the top to still seem real. Robert Sean Leonard, who made a decent career after his young success with "Dead Poets Society" (where Hawke also appears) and is now a respectable actor, constructs a restrained but distrustful portrayal about a man who always looks about to explode. Finally, Uma Thurman commits herself with a performance that combines beauty and innocence with intelligence and unpredictability in a logical way. There's something special about the performances; about the way in which the characters (especially Hawke) say common words like "what" or "how" or "why", and it increases the amusement of the experience.The title "Tape" comes from something Ethan Hawke's character records in a cassette. You'll see what it is and how pointless it appears to be; but then you'll see how Linklater and his direction, Balber's script and their movie manage to turn it into the most important thing in the world.