Listonixio Fresh and Exciting

Claysaba Excellent, Without a doubt!!

Cleveronix A different way of telling a story

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

miruna-c-popa A movie describing the life of someone who can't find his place around people, how he feels that people became strangers to him, but actually, it's him becoming a stranger to himself.The movie isn't much of an entertainment, at least it wasn't for me. Frankly, I was disappointed by the jazzy beginning, which led me to think more about Berlin as a future Woody Allen New York. But there are some scenes in the movie that were so simple to understand, they got me thinking.The courage of one girl, which was once fat, which led her to stop ignoring what people say to her. Even if that means to put her in danger, she can't leave thoughts unsaid.But by far, the phrase that struck me deeply, was that "People can't bear the dark anymore". It led me to think about the insecurity people feel these days, and how they're afraid to be alone with themselves.

kosmasp There is a theme in the movie and I'm not talking about the growing up part. I'm talking about the part where the lead character has to make decisions. Which he is unable too. You could argue, that is part of growing up, but it's just a theme that runs through many people and will touch a nerve.Of course the one thing our lead character wants, he doesn't get. There is always an obstacle, something that will not let him get it. For some that might feel symbolic (and the resolution this has or hasn't at the end of the movie might feel that way too), but that depends on how you view things. And that is something that has been done clever by the filmmaker here. Shooting in black and white is an art choice, but I feel it works for the general feeling of the movie

superferb They say Gerster was a film student? Funny school, didn't teach him a single thing about movie-making. That this film exists in it's current form is as ridiculous as letting a hack medicine student who can't tell a scalpel from scissors perform plastic surgery. This movie has no story, it has no characters, it has no meaning. Oh, you mean the meaning is that it has no meaning? That the guy is locked inside his inability to act? Brilliant! Now watch me take a big fat sh*t on that canvas, how you like that, you art experts? At least half of the film is super embarrassing self-referring stuff like our non-acting "hero" sitting on a movie set. Or watching a stage play. Or listening to people talk nonsense. Lots of talking heads all around. And no, this is no deep dialog. It doesn't even try to be written and/or performed in a poetic or artistic way of any sorts. It's just meaningless nonsense, 90% of the time. The movie is totally immature, narcissistic crap, and it doesn't even try rebellion... how pathetic is this? It doesn't really try anything at all. It's really just crap. And the Berlin footage? Cheap, pseudo, uninspired. Yeah it's in black in white, i can see that. Huh huh cool, huh huh. Really guys, to see artistic quality in it means you're intellect is somewhere in Beavis and Butthead land, without the coolness and subversion, that is. And that's a fact.

Thom-Peters "Oh Boy" features the same "plot" as countless art-house and student movies: A young man drifts through a big city, meets strange people, the end. There is probably a fancy name for this, but most people just call it pointless, boring, a waste of time. Regarding "Oh Boy" there is really no point in arguing with them.The "boy" (Tom Schilling) meets about 12 stale caricatures: a presumptuous bureaucrat, a snide coffee shop waitress, a wacky lonely neighbor, a fat girl who was bullied by him at school and is now thin and very blatantly mentally unstable, his rich & heartless daddy, stupid ticket inspectors ... These characters are neither funny nor interesting, they are just incredibly annoying versions of stereotypes recycled by a clueless author. He actually manages to dedicate two of the movie's scenes to the times of Hitler - in a movie about a young man's journey through the Berlin of today! That's world-class, in its own inane way. You are afraid to deal with current topics; you don't have a single original idea? Well, you can't go wrong with Hitler! He's still got a gigantic fan base that can't get enough of this guy."Oh Boy" is author/director Gerster's thesis project for a film academy. Therefore critics shouldn't be too harsh; they should concentrate on the promising aspects of this exercise. But there was a preposterous hype about this movie. It won the highest German movie award, the "German Film Award", for best feature film. This "best German movie of 2012" will be shown in art-house cinemas and Goethe Institutes around the globe. There is no reason to hold back punches anymore. Gerster's professors might be proud, but viewers expecting a good movie are bound to be seriously disappointed.While I'd give zero points for the author, the work of the cinematographer is quite good. "Oh Boy" is not only filmed in black-and-white, sometimes it really does look like an actual movie from the Fifties. And it has got an appropriate jazzy soundtrack to go with that. All in all there are several minutes of lovely Berlin photography. If B&W-movies do have a future, the name of the cameraman Philipp Kirsamer is definitely one to remember.In one of the two remarkably pointless Hitler scenes, the weather-worn old man Michael Gwisdek (born in 1942) gives a theatrical monologue about how he as a young boy witnessed the "Night of Broken Glass" in 1938, dreading that all the glass would hurt his bicycle tires the next day. This 5 minutes long, static monologue got him the "German Film Award" for best male actor in a supporting role. Awkward! Is the German cinema really that dead? ("Bad German Movies"-Review No. 12)