The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Alps was so close to becoming another brilliant Yorgos Lanthimos film but, unfortunately, it fell flat as nondescript, self-absorbed attempt at creating significance out of absurdity.I know for fact that Lanthimos is brilliant and he is one of my favorite filmmakers, but I can't pretend to enjoy this one. I never complained about Lanthimos' abnormal-made-normal stories and techniques and I never will (I love them actually); this movie, however, lacked the glue that hold these elements together and came out as an uttered great line.Alps is a good idea ruined by execution. Sorry, Lanthimos.

What happens when people insist on controlling one another? When they see the other only in terms of roles and obligations, not as individuals? When the primary interaction between those with power in relationships and those without is that the powerful take what they want, insist on conventional behavior from others and deny the weaker ones their desires and opportunities. When those denied must submit or die? What are the effects of even small acts of kindness? What is the effect of really seeing the other. Satisfying individual needs? This movie aims directly at the intellect and the gut, using a strikingly unusual metaphor as storyline. If you read the other reviews, you'll see it leaves many disappointed, irritated and confused. If you love patterns and puzzles you may enjoy this. Eventually. During the movie I was repeatedly briefly enraged, mostly just puzzled. Immediately after watching it, I wondered why the director thought he was entitled to waste 90 minutes of his viewer's lives with such coldness, sterility and artifice. By the time I woke up the next morning, the pieces began to fall into place. The actions and interactions of the gymnast and trainer during the first and last scenes, and the reason that the two scenes differ, encapsulate everything. After a lot of thought and piecing together, I see the movie as a brilliant piece of art. Unpleasantly, disturbingly, heart-rendingly brilliant.

A KVIFF screening, from the young and talented Greek director Giorgos Lanthimos, a follow-up of DOGTOOTH (2009), which was a dark horse nominee of Oscar's BEST FOREIGN LANGUAGE FILM OF THE YEAR and I haven't watched yet. But Giorgos' eerie approach of scrutinizing modern-day's communicative malaise has its overt justification in ALPS. Absurd, genuinely designed, full of fits of laughters about the mimicking set pieces, the film presents itself in a more comprehensive elaboration than I expected, although initially, it takes some time to figure out the real occupation and motivation behind the self-dubbed "Alps"group (maybe Everest could be a more befitting name since its the highest mountain on the earth and its irreplaceability should be more cogent than Alps as long as height is concerned). But the wacky "impersonating the deceased"groundwork is not potent enough to sustain the film into a genius employment, since the demanding of this type of service and its viability to perform its presumed obligation (to console the next-of-kins' grief) is a moot question here, and eventually a win-win condition has to yield to the conceptual willfulness (in the film it is the identity misconception, a spontaneously unsurprising aftermath). But performance-wise, leading actress Aggeliki Papoulia is a natural treasure, rendering the eccentric antics much more personal dedication (which also includes an equivocal default of the relationship between her and her father, another Alps' case or not?), I put her among my top 10 list of BEST LEADING ACTRESS line-up of 2011. ALPS is a patchwork piece, nonetheless, Giorgos' one-of-a-kind singularity alone could be singled out as one of the most intriguing and cutting-edge film artist to bring some mondo gratification to cinema nerds.

With the singularly compelling premise of a mysterious group offering to take over the roles of recently deceased people to provide relief for their loved ones, it came as quite the shock to me that Greek writer-director Yorgos Lanthimos's follow-up to his 2009 Oscar-nominated "Dogtooth" (one of my all-time favorites) ultimately failed at living up to its concept.Throughout the entirety of "Alps", I felt I was gazing in awe at a beautiful seed sadly incapable of germination. The film barely got anywhere while maintaining an incredibly slow pace and irritating visual style consisting of incessantly restrained deep-focus cinematography. There was so much potential wasted on scenes far too peculiar and insignificant to add any depth to the story or further develop the characters. Seldom did anything rightfully earn its place in the film; the multiple sex scenes seemed to be there with the sole purpose of being extremely awkward and obscene, while all the attempts at absurd humor felt slightly forced and weren't as effective as they should have been due to the narrative's intermittent solemnity.This brings me to the film's greatest problem, which was that— on top of struggling to find its own voice and tone in its ridiculously irrational approach— it never really figured out what message it wanted to convey to its audience. Evidently Lanthimos was trying to say something about human nature and the craziness of consumer society, but he didn't succeed in delivering his thoughts coherently this time around. I hate comparing, but I must say I found the profound social critique that seeped through the bizarre surface of "Dogtooth" to be far superior in elaboration.The end result of "Alps" was a confused, detached (albeit well-acted, especially by Aggeliki Papoulia) jumble beyond anyone's realm of comprehension, so overwhelmingly filled with unjustified senselessness that the most I could do was simply sit and stare at the screen, patiently awaiting some real substance, only to be disappointed by sheer staleness.I suppose I somewhat admired "Alps" for all that it could've been following its eccentric uniqueness, but I can't see how anyone in their right mind could have truly enjoyed it.