the audience applauded

Surprisingly incoherent and boring

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

You gotta love a movie that holds up.Not much needs to be said.Written and directed by Barry Levinson, nominated for Best Screenplay and set in Baltimore 1959.I'll try not to spoil anything, because if you like movies and haven't seen this gem, you must catch it soon. It's funny, poignant and has a spectacular cast.I can't get enough of Paul Reiser's character, Modell. Good Golly he's funny.Discussing the concept of evolution, Reiser speaks one of my favorite lines, "The guy who makes up this stuff it's the stupidest thing I've ever heard - people do not come from swamps. They come from Europe."This line comes from potentially the best post-movie credit sequence I've ever seen (or rather, heard). It's a philosophical comedic audio layover, a bonus diner conversation; an adequate apology for the abrupt freeze-frame ending.I love how Reiser's constantly hassling Steve Guttenberg's character for rides. They're all such close friends, Reiser manages to never actually ask for the lift, he always gets The Gute to offer.A young Mickey Rourke is almost unrecognizable in this film. And he delivers a spectacular performance.Daniel Stern's character is also great, now that I think about it. You know him from Home Alone. His character is such a well-meaning fella. When he argues with his wife over his records, you don't know who to root for, and it'll set your heart-strings aquiver.It can get dusty at times.Stern also has a great moment with Guttenberg, when he explains that getting married doesn't necessarily make life any easier.Kevin Bacon's character is, as always, excellently executed. He is like a tightly wound spring, but worth much more than first appears.The minor character who memorizes the lines from "Sweet Smell of Success," cracks me up every time he interrupts a conversation.I'm not sure if women will enjoy this film as much as men. The themes seem very masculine; they reflect the subtleties of my interactions with my male friends. I'd be interested to hear if women feel like they really connect with certain aspects of the movie.One might say Diner is misogynistic.I say, "Feh!"One could argue that the pacing is slow at the beginning, but personally, I won't do so.The only criticism I can muster is about the moment of most tension, the pinnacle of the film's conflict. It gets resolved in such a quick fashion it might make your head tilt.Otherwise, this is a spectacular film.As always, don't expect too much, and you'll be oh-so-sweetly rewarded.

Overrated little sleeper that is compelling if not totally endearing. There is a good script with wonderful, mostly great performances and it does have a sense of the time, but some of this goes just a beat too far.The touted dialog and character interactions sometimes go on for just a little too long and loses some of the impact, like the "roast beef sandwich scene" or the "football quiz". There are good swatches at real immature, closeted, misogynistic traits but the timing is awkward and much of it is played out long after it makes the point.The "record sorting" scene is done with more restraint and has more impact and is more memorable because it plays more like a 45 and not an LP. The flip side is that when this memory lane movie is good it is very good. But it is a mixed bag, just like the albums of its day. One Hit with a lot of filler.The pacing is smooth but intentional placing of the songs sometimes seems out of place, put the film does put you in a time and place that is fondly remembered as the end of the age of innocence. After all this is 1959 and we know what the 60's have coming. That decade will make one see the previous decade and its problems as whiny blissful ignorance.

The everyday life of six friends concentrically focuses around a diner - in some manner symbolising a sense of nonfluctuating stability, whilst everything else around them changes: marriage, children, work and ideals. Eddie (Steve Guttenberg) is on the verge of getting hitched, laden with certain doubts about his choice. Shrevie (Daniel Stern), the only married man among the bunch, is a musical geek happily wed to Beth (Ellen Barkin). Boogie (Mickey Rourke) represents the opposite, a free spirit with a weakness for gambling and women, studying law only to impress the ladies. Similarly Timothy Fenwick Jr. (Kevin Bacon) lives recklessly and aimlessly - despite belonging to a wealthy and influential family he spends his time disconnected from them and slacking it off in his Porsche. Billy (Tim Daly) seems to be the groups father figure, rational and always controlled. That is until he platonic friend declares she is pregnant with his child after a single night of madness. The sixth of the pack is Modell (Paul Reiser), whose seemingly only role is to make up the numbers.Through this loquacious picture haplessly concentrating key events around a diner slash meeting place of choice for six best friends we venture into the feeling of a time and place, one so internally American than it fails to strike a cord with overseas audience. Mischievous and at times subversively funny the end result is however tailor-made for local audiences, who can fully appreciate the backyard amiability of the witty gang. Not to say this is a bad thing - some things aren't meant to have global appeal and within its target it is undoubtedly an intriguing gem, one still influential for buddy or verbose flicks and also a point of reference for such movies as "Before Sunrise" or "Smoke".Talkative and largely improvised features tirades by great actors, whose magnetic presence captivates, especially when talking about Bacon or Rourke. Despite however my best intentions I found myself unable to relate to the characters and their all-American traits.

Diner, Barry Levinson's writing and directing debut belongs to so-called "small" or "minor" movies and it indeed does not have spectacular locations, breathtaking action sequences or even dramatic story. As Kevin Bacon comments in the Behind the Scenes Documentary, "There's not that much of a story, really. What do we do? We drive around..." What the movie has is "a very honest portrayal of a group...of guys that people relate to on a very personal level." The different generations of viewers react to film with devotion and recognition, and Diner has become one of the beloved long time cult favorites. Based on its writer/director's memories of growing up in Baltimore, the film takes place during the week between Christmas and New Year in 1959, and tells of the friendship of five guys in their early twenties. During the course of the film, we will get to know the young men, their fears of growing up, facing responsibilities, and making decisions, their fascination and insecurities with the girls.From his Oscar-nominated script, BL makes the study of young men who hesitate to grow up but rather hang out in their beloved Diner. Daniel Stern's 'Shrevie' is an owner of LP collection that he seems to value more than his young and pretty wife (Ellen Barkin in her film debut). Mickey Rourke, played his best role (at least, IMO) as Boogy, the cynical womanizer with the most charming smile. Steve Guttenberg's Eddie puts his fiancée through the enormously difficult football quiz and the passing score is the must for the marriage because he is scared to get married. Kevin Bacon plays Fenwick, a permanently drunk and lost kid, the character much darker than the rest of the guys. Timothy Daly is Bill who seems to be the most successful of the bunch, and know what he wants but can't make the girl he loves to love him. By making Diner, Levinson actually put his native city, sleepy and provincial 1959 Baltimore, on the cinema map, and that's just one of movie's pleasures. And there are plenty. Diner is filled with authentic and believable scenes, situations, and conversations that everyone can relate to. The Diner's menu has a lot to offer to the grateful viewers and fans of the insightful, ironic, entertaining, small but bright and shiny gem. Barry Levinson does not flatter six protagonists but he understands them and loves them because he sees in them the indelible part of his own life, his experiences, and his own childhood friends. As another great film about childhood friendship says, "I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?" Barry Levinson went on to create many good and very good films after Diner. These are just a few: The Natural, Good Morning, Vietnam; Bugsy; Avalon; Sleepers, An Everlasting Piece, Disclosure, Wag the Dog, and his Oscar winner "Rain Man" but Diner will always have a very special place for me. This is the film I keep coming back to again and again, and as the time passes it only gets better.