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

Just perfect...

For all the hype it got I was expecting a lot more!

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

This film has two very redeemable qualities. The fantastic cinematography and the performance of Rose Byrne. The rest of the film however--While The Goddess of 1967 is very pleasing to look at, the actions of the characters are frequently shallow and seemingly random. For example, during the conclusion, it simply was not believable that B.G. would make the choice to put her past aside and choose to pursue a life with J.M. when the chemistry and dialogue between the two characters was so completely mindless.Law failed to demonstrate the growth and change B.G. allegedly must have made during the trip and forces her into a 180 at the end of the film as a quick fix.

I loved this movie. It is lovely to look at, especially the way the scenery is filmed (& I don't care who tries to contemptuously dismiss it as 'arty'. I don't want to look at tourist brochure cinematography, a la 'Japanese Story' - I've already been to the outback & seen the scenery). The characters felt real to me (& never acted in ways that were inconsistent with or unexplained in terms of their personality & motives, unlike Toni Colette's character in 'Japanese Story'). If you do not tend to connect with or understand characters who have lived isolated or socially marginalised lives, you may react the way the previous reviewer did (i.e. with annoyed disdain). However, if your life has not followed the mainstream-media 'happy families' narrative, you might, as I did, be able to deeply relate to the main characters, as well as the whole sense & sensibility of this movie.

Like too many arthouse movies 'The Goddess of 1967' seems to think that some excellent cinematography is enough to carry a superficial script full of stereotypical characters. It isn't. Apart from a handful of memorable visual images I can think of nothing positive to say about this movie. One again, a non-Australian shows a group of ugly Australian cliches against a background of a beautiful but harsh landscape. Personally I'm sick of this outdated, narrow view which in no way represents the diversity and richness of contemporary Australian life. To add further to the shallowness and predictability of this movie the Japanese car buff played by newcomer Rikiya Kurokawa is so poorly developed and pointless that he may as well wear a t-shirt saying "silly Asian character" and leave it at that. The inexplicably touted Rose Byrne's "fiesty blind girl with a dark past" has slightly more depth, but only just. The "odd couple" with a "culture clash" on a "quirky road trip" where they "find themselves" - c'mon! Haven't we seen this kind of lazy scenario too many times before already? This is third rate film school stuff with nothing new or original to say despite its pretensions. Give this one a miss unless you love cars as much as "Boy" does. There's no other reason to sit through this dull, mediocre arthouse bore.

This film does several things that are hard to read and harder to fully appreciate without being hammered over the head with the story's themes. The film is set up as a series of overlapping contrasts, and that is the part I'm most stricken by. Contrasts of culture, morality, experience, gender, needs and conclusions. The film sets up expectations for the characters, then proceeds to change said expectations as the characters evolve and reveal like layers peeling away. I'm awed by much of the delicate caress of the pacing, and the contrast of the beautiful way many of the scenes are shot against the contents of the scenes themselves. I adore this film.