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Very very predictable, including the post credit scene !!!

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

This film is so real. It treats its characters with so much care and sensitivity.

it is a kind of revelation. not only for acting or script - the Iranian cinematography is admirable source of remarkable films, but for the force of nuances. a film about need to change the society. and the price for that desire. a soft story, a great performance, melancholy in perfect slides, bitter scenes and a powerful careful work. the exercise of Hussein to escape from the circle of his condition, the delicacy of gestures, the first and the last scenes, the dialogs and the atmosphere are pieces of a movie who seems be not exactly a story but a touching confession. its force pillar - the status of universal fight against rules. so, an Iranian movie. who presents the soul map of each viewer.

Written by the most prominent figure in Iranian social realist cinema, Talaye Sorkh is very much suggestive of some social realities in contemporary Iran. Following an underclass pizza-delivery man for a day or two of his life, Panahi's camera pictures a story that speaks only not for Hussein, but also for many of his real-life fellow citizens in Tehran. Although the film appears to be highly critical of the current social gap between the rich and the poor, Talaye Sorkh is more about alienation and marginalization. Hussein is a war veteran who is devastated by the contradictions of the values he fought for in the Iran-Iraq war and what he witnesses in the affluent neighborhoods of northern Tehran, where he delivers pizzas. He is shocked to see a former lieutenant in one of those chic houses. Thanks to Hussein Emaduddin's great performance, the film by no means begs for sympathy. It seems that the tensions of the society in which Hussein lives, has made him an emotionless man. Hussein's toneless attitude and his unusual calmness speaks of a man whose tolerance comes to a rapid explosion at the end. He is a sort of man who is unable to even feel for his fiancé. Robbing young women's purse doesn't seem to interest him either. Throughout the entire film he is in a state of shock. Although the film's plot is based on a true story, its dialog seem a bit incompetent and weak at times. The dolly shots and the overall camera-work however perfectly contributes in suggesting a schizophrenic atmosphere which has indeed been the intention of Panahi as well. Panahi's latest film is very much similar in theme with his previous award winning Dayareh. That film is also recommended for those who enjoyed this one.

from the director of "The circle" and "The White balloon" comes another revolutionary film from the Iranian cinema, there are aspects in this film that only an Iranian would understand, or someone who is familiar with the situation in Iran, and how it crosses the red line many times. The film shows the huge gap in the society in Iran between the rich and the poor, too bad that this film attracts the wrong audience, some watch this film and expect the film to continue like what it was in the first few minutes. Another factor that makes this movie so great in the Iranian cinema is the techniques used in it, there were camera works that had never been done in the Iranian cinema, refer to the scene in which Hossein was lying in his bed to see this. overall i think this was a great movie and it gets a 10 out of 10 from my unbiased point of view.

This is a bit of a dream team coming together for a recent iranian film: Kiarostami writes and Panahi directs. And the film is an appropriate hybrid. It has the sloow, thoughtful, gritty realistic, real-life dialogue laden, meandering-but-focused story that Kiarostami makes, along with the focus on social injustice that Panahi had in the Circle.It's on the top ten for Iranian film which means definitely get it. Great film. Great photography. Lots of teheran and iranian morality police -- cool. If you can't stand movies that don't have a clear Hollywood plot -- if you don't like art house movies -- if you get bored or tired in slow movies -- don't rent it.