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

This story has more twists and turns than a second-rate soap opera.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

"Üç Maymun" or as the English title says: "Three Monkeys" is an OK movie, that offers good direction, a handful of good performances and nice visuals, but almost zero originality and little in tension or plot development.Servet kills a person and convinces his driver, Eyüp, to take the blame in exchange for money. But as Eyüp's son Ismail seems to be on a dangerous path, getting into fights and bad companies, Eyüp's wife Hacer decides to go and talk with Servet for an advancement of the money, a decision that will bring unexpected consequences.The movie doesn't offer much in the plot department. It is a traditional story of a dysfunctional family and of power relations, and corruption. The pace is quite contemplative, but assured and clear, and the tinge the whole movie has brings with it the right kind of mood. The actors all do a good job, even if it leans to the stoic kind of, with silences and contained-violence. But the movie lacks the touch that would make it stand out, and it ends becoming just one more of its kind.All in all, it is an interesting movie, but nothing out of the ordinary.

The "Three Monkeys" of the title refer to the protagonists Eyüp (Yavuz Bingöl), his wife Hacer (Hatice Aslan) and their son İsmail (Ahmet Rıfat Sungar), who quite literally look no evil, hear no evil, and speak no evil. They are apparently content to pass their lives on the margins of society living a hand-to-mouth existence. However that decision ultimately proves costly.Unlike his earlier work, director Nuri Bilge Ceylan introduces a political element by having Eyüp work as a driver for corrupt politician Servet (Ercan Kesal). The movie begins with an accident where someone is killed: Eyüp takes the rap for the accident and is imprisoned for nine months, while Servet continues his career as a prospective candidate for the forthcoming election. Inevitably he wins as part of a landslide for the AK (Justice and Development) Party. Ceylan has Servet insist that his sole aim as a politician is to "serve" - but precisely whom he serves is a moot point. ÜÇ MAYMUN suggests that his main interests lie in making as much money as possible while exploiting those around him: Eyüp serves a jail sentence, while Hacer embarks on a doomed love-affair that ends with Servet telling her to leave once she has served her purpose (as a pleasurable alternative to his wife, no doubt).Nonetheless the film includes familiar themes and tropes characteristic of Ceylan's oeuvre. It is shot in sepia tones, the dirty, washed-out colors providing an appropriate visual metaphor for the protagonists' dirty, washed-out lives. Their house is a poky, rundown building right by a railway line, where trains rattle by, preventing any serious attempts at conversation. Not that this handicap really matters: Eyup, Hacer and İsmail have a pathological inability to express their feelings openly. Sometimes the only way they can communicate is through violence, with Hacer as the unwilling victim. They inhabit an underworld predominantly comprised of shadows; when mother and son eat breakfast, we cannot see their bodies silhouetted against the sea- view from their living- room window. Ceylan makes much of the ambiance: several scenes takes place amid the chirping of crickets, the barking of dogs, the gentle sound of the waves lapping against the coast, and the whirr of motor-boat engines. Life carries on regardless of the characters; it is part of their tragedy that they remain totally oblivious to anything except themselves, as signified in the repeated use of shots showing them looking despairingly out to see, as if wanting to unify themselves with the elements yet emotionally unable to do so.The action takes place during a series of miserable autumn days; the clouds roll threateningly by, and there is very little if any sunlight. We hear thunder rolling threateningly in the background - an appropriate aural metaphor for the crises of the protagonists' lives. As the film ends, a storm begins, while we witness Eyüp, no more than a speck on the horizon, looking moodily out to sea. The entire world, it seems, is out of joint; the characters' crises embody all our crises, that become so dominant that we are unable to see beyond them.Sometimes the sonic landscape becomes almost too complicated, with the characters' heavy breathing competing for our attention with the daily sounds of life in a seedy area of İstanbul. Nonetheless Ceylan has created a compelling piece that is thoroughly worth our attention.

First of all to appreciate this film you have to be an art-house film fan. Pace is slow. There was an absence of sound track. And no action.I was first exposed to director Ceylan's work through "Unce Upon a Time in Anatolia", and was immediately addicted to his style of story telling. From the opening long take (a car driving down a narrow country road at night) to the ending take (male head of family standing on top of the apartment roof looking out to the sea and sky, deep in thought), you sense the Ceylan signature.This is a family drama, about how the lives of a family of three were forever changed after the head of the family, a driver, agreed to accept a deal from his boss to assume liability in a hit-and-run accident and spend 9 months in jail in return for a lump sum cash payment.For this film I have all the patience required. After two films by Ceylan, I have become a fan. Highly recommended for those that are interested in alternatives to Hollywood dramas.

Critically acclaimed Turkish director Nuri Bilge Ceylan ("Distant" & "Climates") cemented his previous success with this slow-burning neo-noir which won him the Best Director Award at the 61st Cannes Film Festival and was Turkey's unsuccessful submission for the 81st Academy Awards' Best Foreign Language Film Oscar amongst a slew of Yeşilçam Awards and international film accolades.When family man Eyüp (Yavuz Bingöl) goes to prison for a hit-and-run committed by his wannabe politician boss Servet (Ercan Kesal), his wife Hacer (Hatice Aslan) and wayward son İsmail (Ahmet Rıfat Şungar) find their lives beginning to fall apart, and the process is only expedited by Eyüp's release some nine months later.Popular Turkish folk singer Yavuz Bingöl presents a wonderfully hunched and dishevelled presence at the head of a family that features the haggard beauty of Hatice Aslan and the angst ridden brow of Ahmet Rıfat Şungar who both won Yeşilçam Awards as well as the occasional unwelcome interference of sweaty co-writer Ercan Kesal.The Yeşilçam Award-winning cinematography of Gökhan Tiryaki ("Alone" & "Climates") transforms Istanbul into a suitably dark and brooding backdrop for the bare-bone story-line of Nuri Bilge Ceylan et al, but the dark beauty of the cinematography isn't quite enough to hold attention and the film begins to drag long before the leaden denouement."Do we have anyone else?"