disgusting, overrated, pointless

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.

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

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.

I watched C.R.A.Z.Y. knowing absolutely nothing about it and from the first few minutes I was completely engaged, it is the perfect periodic coming of age film, it has a good mix of drama and comedy, it brilliantly captures the setting while also making appealing to a modern day audience and the characters and the situations they find themselves in are both entertaining and realistic. The director Jean-Marc Vallee and the writers Vallee and Francois Boulay deserve full credit, the dialogue alone manages to capture the true essence of the family. The actors are also brilliant I would go as far as to rate Michel Cote's portrayal of Gervais, the father, as one of the finest performances I have ever seen.I re-watched C.R.A.Z.Y. yesterday and thought it was even better than the first time, it's a film with so much depth that it won't get boring no matter how many times I watch it, it can be difficult for a film to deal with so many characters and themes and not go over board with them but C.R.A.Z.Y. manages to pull it off. It's perfect it captured what it set out to achieve and deserves the highest praise.

C.R.A.Z.Y (dir. Carlos Reygadas) A complex and nuanced 'coming-of-age' tale which delves into emotional issues which can bind, or possibly drive a family apart. Most films of this nature would dwell or magnify the gender identity story-line, but in this French Canadian film, the viewer is shown that sexuality is only one part of a person's character, and how family members learn to accept each other is what is truly important. Also, the film boasts an eclectic soundtrack which showcases some of the more interesting bands and artists of the 60's and 70's. C.R.A.Z.Y is definitely a refreshingly different take on how a young male learns and integrates sexual identity, personal philosophy, and self esteem within the confines of dysfunctional family.

C.R.A.Z.Y. has got to be one of the best films I have seen in a while, let alone one of the best gay films! It had the epic feel of Scorsese in the sense that so much time had been covered, such as "Goodfellas" or "Casino", yet you never felt that anything had been rushed to get from one time period to the next. It had the flair of Guy Ritchie with a lot of the editing and whiz-bang camera work. It was AMAZING!!! I read on IMDb that it took the director ten years to finish writing it and he cut his own salary in order to secure the music rights. How is it that a film from 2005, that is this good, didn't even make a blip on the cinema radar. I looked up what had been nominated that year as best foreign film and as best picture. "The Sea Inside" won for best foreign film, but "C.R.A.Z.Y." wasn't even nominated, even though it was entered for a chance to be nominated. What a crock!!! The American film that won for best picture that year was "Million Dollar Baby"!!! F**king Eastwood and his right-to-die piece of s**t film couldn't even measure up to the beauty and heart of "C.R.A.Z.Y."!!!!

"As far as I can remember, I've hated Christmas," recalls Zachary Beaulieu (Grondin) in voice-over, and at its most superficial C.R.A.Z.Y. is how 'The Wonder Years' might have played out if Kevin had grown up gay and French-Canadian Catholic.A real family movie (even the title is derived from the initials of five brothers), C.R.A.Z.Y. charts the tricky trajectory of closeted gay adolescence, although it's chiefly concerned with inter-generational ding-dongs, wearing its sexuality beneath its crushed velvet sleeve. As director Jean-Marc Vallée stresses, "the theme of the film is personal acceptance... about the struggle to express yourself and being honest in the moment", and such soft-soaping is probably one of the reasons it's cleaned up back home in Quebec.At the time of writing, it's grossed over US$5 million in a province of 6.5 million people; as the producers remind us, "nearly everyone in Quebec has seen this movie". On the other hand, their cousins across the border have all but ignored it, and it's tempting to see in C.R.A.ZY. parallels between the two territories' relationship, in the film's themes of 'otherness' and awkward isolationism.Emphasising Zac's 'otherness', his initial entry into the world on 25 December 1960 owes more to the horror genre, with the emphasis on bloody birthing tables and foreboding incubators; a beast is born (and he will indeed end up slouching toward Bethlehem in the film's third act). Furthering the anti-Christ imagery, he's also comes furnished with a strange birthmark on his scalp, which his mother Laurianne (Proulx), with whom he shares a strange psychic bond, believes denotes the gift of healing - a blessing, "for good or ill".Almost immediately, however, he's dropped on his head by his resentful brothers (the "Three Morons"), heralding the movie's tragi-comic tone, and foreshadowing two decades of spills, thrills and hard knocks. Most all these ensuing scenes will be filtered through family life or Zac's inner life (we never see him in class or at work). If his brothers - sporty, rebellious and egg-headed - share little in common with their sensitive sibling, their bullish patriarch, the Charles Aznavour-crooning Gervais (Cote), initially takes a shine to his youngest son, taking him out on secret French fry-guzzling expeditions and attempting to curb his doting wife's cooing indulgences.Gervais puts his foot down when she buys Zac a doll's pram, determined his son won't grow up to be anything less than a man's man. "I knew very well what a fairy was," says Zac. "I especially knew I didn't want to be one." Understandable, really; this is a man whose homophobia extends even to the gospels: "Sometimes I wonder why we pray to a long-haired guy who hangs out with a bunch of guys in robes", grumps papa. Nevertheless, Zac prays to Jesus every night to make him less "soft".Predictably enough, everything goes awry after Zac accidentally smashes his father's rare Patsy Cline import - and especially when he's caught trying on his mother's dresses and pearls. "I can still remember the snow melting on his face; I had just turned seven, and had unwittingly declared war on my father." Zac is sent to a psychiatrist after Gervais spies him apparently making out with another boy and, succumbing to parental peer-pressure, he beds his best friend Michelle (Thompson). He also beats up a 'gay' stalker in a misplaced display of machismo. Offsetting the hardships, temporary salvation comes in the form of David Bowie, Pink Floyd, and the Rolling Stones. Trying to find himself, Zac eventually winds up in Jerusalem, where he takes a lover (a man this time) and nearly dies in the desert, before returning home to make peace with his father, prompted by his offering of a replacement Patsy Cline LP he's coincidentally found at an Israeli market stall.There's a lot to like about C.R.A.Z.Y., in its soapy way. The soundtrack for one thing: during one glorious scene, Zac imagines himself levitating above a church pulpit, as the congregation sings joyously to 'Sympathy For The Devil'. It's like Todd Haynes meets Dennis Potter. But it's during these fantastical musical interludes that the film really soars.The hairstyles, fashions, décor are what you'd expect from a 1970s-set drama though interestingly, nestling among the Bruce Lee posters and period LPs in Zachary's bedroom is Pink Floyd's 'Animals' - released two years after the scene is set, in 1975. It could be an honest oversight, of course, but it's possible to ascribe a more timeless tale taking precedence over historical verisimilitude. As Morrissey once lamented, "this story is old, but it goes on," and C.R.A.Z.Y., featuring much Bowie-worship, inter-generational conflict and agonised self-discovery, could be set pretty much anywhere, at any time in the Western world during the past 30 years.Grondin as the teenage Zac ably conveys his anguished plight and, though mostly ciphers, the supporting cast also put in decent performances, Côté and Pierre-Luc Brilliant (elder brother Raymond) in particular. However, at two hours-plus, C.R.A.Z.Y's in danger of overstaying its welcome, while the ending is one of the few bum notes in an otherwise well plotted movie; homophobia vanquished in one fell swoop by a Patsy Cline record? Oh, the irony.