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Sorry, this movie sucks

It's no definitive masterpiece but it's damn close.

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

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.

Not really much to say without spoiling it...this drama will leave very strong imprint on your hart and soul. It portrays human struggle and search for the meaning of everything. Suffering and pain from separation - both, long and short term, from people we love and need.I watched this movie three times over 72 hours, and every time I saw it, I felt like I was watching it for the first time. Story line is well crafted and acting is just superb by all. I could not help but think of a "butterfly effect" in relation to actions of all characters and, even some seemingly small and irrelevant move, will resonate across continents and impact characters' lives. Also, along with a pizza or popcorn, get a box of Kleenex...trust me you will need it.

This was a very well done movie, love the cinematography and colors. The movie was very tenderly done and showed character at its best and at its worst. It also depicted the sad economic realities throughout the world, especially the issue of hunger, prostitution, and pedophilia. The scene at the hospital was quite graphic where a boy comes in with 5 stab wounds perpetrated by his mother. The bond which emerged between the doctor and the young boy who was stabbed, was obviously a case of misplaced emotions which in reality was the feeling of fear by the doctor for her daughter and the fragility of life. The ending left me a little dissatisfied but it did tie all of the peripheral stories together as well as it could. I would definitely recommend this movie for its view on morality and the empathy to poverty.

like many others. a trip . like a lot of movies. a new Babel. but in specific way. a poem. about maternity, search of sense and broken bridges of soul. nothing more. story of three mothers in different places of world. and same problems, answers and tragedies. like game of mirrors. like hided arena.a young man in Thailand. his questions, quests and discoveries. and a strange pen. nothing else. a puzzle and definition of globalization fruits. or only reflection of same need of sense who makes heart of every society. who makes hours, months, years, decades of each man and woman.the axis of that heart is always the child. a child. who may be promise for better life. who must be legitimation of present sacrifice. who gives force in every difficult moment. a prey, a pray, a promise and perfect victim.so, the virtue of film is game of nuances. delicate. subtle. cruel. and wise. far from a moral lesson. but, with a very good cast, a letter to public.

Since the development of Marx's critique of bourgeois society, the purpose of critical social theory has been to clarify how the economic forces that made possible the rise of modern capitalism exact costs that cannot be grasped in terms of political economy. Today, however, it has become more and more difficult to contend that individuals, social groups, and societies as entities, pay a price for economic progress (capitalism is expert at "outsourcing" suffering). Man has been acclimatized to his world, and resistance to the notion that there is no viable alternative to today's (laissez faire or otherwise) economic policies, has shrunk to the so-called "anti-globalisation movement". These critics usually stress that today's policies result in various forms of injustice and alienation, and violate many of the very values western democratic societies purport to embody.Lukas Moodysson's "Mammoth" aims to paint a portrait of life under twenty first century globalisation. It opens on Leo and Ellen Vidales, a wealthy Manhattan couple whose eight year old daughter, Jackie, is entrusted to a live in nanny called Gloria. Leo, a video game designer, epitomises our perpetually wired, yet wholly cocooned, media savvy generation. Emotionally and intellectually stunted, but always plugged in, he leaves his family indefinitely to travel to Thailand. There he hopes to sign a multi-million dollar contract with a big software company. The borders of finance are not only being redrawn, but eradicated. Leo travels across the globe to sign a cheque.An emergency room surgeon, Ellen's world is equally cold. Patients come in, she treats them, and they're shunted away. She returns home to an apartment as sterile as her hospital walls. Always working, she rarely sees her daughter or husband. Mirrored to the Vidales is Gloria, the couple's live in nanny. She slaves away in America only to send money back home to her children in the Phillippines. Like the Vidales, Gloria is alienated from her family. Unlike the Vidales, she earns scraps. While Jackie's father and mother are away, Jackie and Gloria grow close, each hoping to assuage loneliness. And so a mother seeks a surrogate child, a child a surrogate mother.Meanwhile, in Thailand, Leo hooks up with Cookie, a prostitute who sells her body to earn money for her own impoverished child. Leo then returns home after having confronted the dark underside of his life's Mobius strip. He hugs his wife and child, but nothing changes. The film ends on a note as dispiriting and depressing as everything that went on before.All artists want to say great things, but great art tends to speak invisibly, its messages disguised, almost imperceptible. "Mammoth" is well meaning but contrived, obvious and didactic, Moodysson constantly talking down to his audience. As a comparison, see Olivier Assayas' "Summer Hours", and his duology of "Demonlover" and "Boarding Gate", two trashy B movies which cover similar ground. Some other better films about globalisation: "Red Desert", "What Time Is It There?", "35 Shots of Rum", "Platform", "The Girlfriend Experience", "Miami Vice", "Syndromes and a Century", "Pulse", "L'Enfant", "Code46", "The Class" and late Romero/Chronenberg/Godard etc.If the film fails dramatically, it nevertheless captures the noxious alienation of Antonioni. Here, alienation is not just an undesirable by-product of techno-capitalism, but its very modus operandi. The film also captures a certain paradox of 21C life; its character's are increasingly connected, yet find themselves always moving farther and farther away from one another. The film's cast is weak, with the exception of actress Michelle Williams as Ellen. Williams made better, similarly themed films with "Wendy and Lucy" and "Land of Plenty".7/10 – Worth one viewing.