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

A lot of fun.

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

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.

Of all the many merits of this film mentioned by various reviewers it seems that the 'mood' of the cinematography doesn't get mentioned. Perhaps the most powerful of these elements are the cars; drop dead gorgeous American beauties of the age that perfectly reflect the warm mood of celebration of life that pervades the rest of the era. For all their social and individual problems, the protagonists all get to cruise around in these incredible automobiles. The Cadillac takes centre stage but the movie abounds with reverential shots of great cars like Pontiac Catalinas, Kaiser, Oldsmobiles etc. focusing the photography and sound on their most seductive features like 'rocket' hood ornaments and almost unreally beautiful colors. The Director caught America of the 1950s 'dead on' when he makes frequent mention of their seductive influence on the generation.

A very good Barry Levinson flick; but miles apart from what I think as one of his masterpieces, DINER(1982). Change is slowly arriving in 1954 Baltimore. Desegregation, personal enlightenment and the pre dawning of rock 'n' roll. Three young Jewish men, brothers Ben(Ben Foster)and Van(Adrien Brody)and friend Yussel(David Krumholtz), come of age...not uneventfully and sometimes comical. The brother's father(Joe Mantegna)is facing the fact that his very livelihood is also in need of change.Ben makes friends with a girl of color(Rebekah Johnson); Van finds himself obsessed with a 'Cinderella'(Carolyn Murphy)from outside his social class; and Yussel thinks changing his name and hair color will keep him from getting beaten up outside his Jewish neighborhood. Not only is the world of music changing; but the powerful effects of automobiles comes into play. And the boundaries set by social classes and race are about to ease. Others in the cast: Bebe Neuwirth, Richard Kline, Orlando Jones, and Vincent Guastaferro.Also enjoyable is the diverse soundtrack that features the likes of: Frank Sinatra, The Crew Cuts, Perry Como, Bill Haley and The Comets, James Brown, Hank Ballard and of course, Elvis Presley.

A coming-of-age period piece set in post-war America, seen through the eyes of a Jewish teenager? I thought it'd be merely a series of boring vignettes like BRIGHTON BEACH MEMOIRS. Instead, LIBERTY HEIGHTS was interesting, intelligent and fairly original as these things go. The characters were compelling, the soundtrack wonderful (though the score was a little too schmaltzy), and the acting...Well, the two actors with the most screen time were, in a word, excellent. It was obvious in 1999 that Adrien Brody was bound for stardom (this was first evident in SUMMER OF SAM, released earlier the same year). A terrific, subtle actor, the man oozes understated charm, and the camera loves that beautiful beak of his. (Note to self: Next on my Brody rent list is Soderbergh's KING OF THE HILL. Hope he's actually in the movie, so I won't be disappointed like I was with NEW YORK STORIES.) But if I had to pick a lead actor among the ensemble cast of LIBERTY HEIGHTS, it would not be Brody. It'd be his onscreen brother Ben Foster (last seen in "Six Feet Under" as the most recent of Claire's boyfriends). This kid (sorry, anyone born in the 1980s is a kid to me) has got some seriously underused acting chops. When he wasn't onscreen I kept wanting the movie to get back to his story, and the wise script had only partly to do with that. Good thing he didn't take the Freddie Prinze route to his career; hopefully this means Foster will always be able to find roles in movies that matter.While the guys' performances (including Joe Mantegna and even Orlando Jones) were terrific, the women's weren't quite as. Bebe Neuwirth, as the mother was adequate (though it seemed a little odd seeing her as Brody's mom, considering she's only fourteen years older than he and they both had half-nude scenes in SUMMER OF SAM). But the love interests of the brothers, despite being superficially attractive, lacked screen presence and the ability to deliver their lines with conviction. I wasn't surprised to learn from IMDb that one is primarily a singer, the other a model. [Allow me to go off topic and note, for no reason, that several actors in LIBERTY HEIGHTS have appeared together in other movies:Adrien Brody & Bebe Neuwirth: SUMMER OF SAMDavid Krumholtz & Anthony Anderson: TWO CAN PLAY THAT GAMEKevin Sussman & Gideon Jacobs: WET HOT AMERICAN SUMMERMarty Lodge & Jan Austell: RANDOM HEARTSWhat's up with that? These aren't even counting the presumably local Baltimore actors who have been cast in both John Waters and Barry Levinson movies. Does this happen often and I just don't notice it?]And we're back. As in TIN MEN, Levinson indulges here his fetishistic love for the cars of the '50s (the final shot is of a gleaming white Cadillac in a dealership's showroom). The songs of the era - from James Brown to Frank Sinatra - are used as character development instead of just cheap nostalgia. The script is clear-eyed about what it wants to say about life back then, dealing with bigotry and the effects of a newly integrated society, and doesn't view the past through rose-colored glasses. It just tells it like it was, honestly and without judgment. One theme of the movie I responded to was how we idealize the object of our affection. It's never nice to realize your Cinderella who looks like a demure Anna Nicole Smith sans vacuousness can turn out to be a boozy nymphet with low self-esteem (like, say, Anna Nicole Smith).LIBERTY HEIGHTS does have its flaws. The editing could have been smoother (some scenes seem to end before they should), and there feels to be about ten minutes of deleted scenes that may have strengthened the characters' relationships (the only one on the DVD isn't one of them). And I didn't quite buy the details in one sequence concerning a financial transaction. But these imperfections are not major enough to ruin the movie. 7/10

From time to time one comes across remarkable films like Liberty Heights where simple story is told in extraordinary manner. This film is about the Jewish Kurtzman family, but we follow the father and his two sons as three separate stories. Each one of them having their own struggle and challenges to face. What struck me as the most amazing part of the story was the easiness of it, how it flowed and gently tackled serious issues in the community of that time. It portrait itself in a realistic manner, where there were no real baddies or large showdown, just people going through life. The performance of the actors was brilliant, with Joe Mantegna (the father), showing once more what a talent he is. This film won't leave anyone untouched. 8/10