At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

One of the most extraordinary films you will see this year. Take that as you want.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Nice movie if you are drunk and want to watch it with a very-cheesy-girlfriend-to-be... There are many unrelated and meaningless scenes, stupid conversations that are far from funny or significant. Sexist approach might make a Turkish men feel at home while a more civilized men would disapprove. Terrible acting mistakes that were left in the film can be disturbing to some. The script tries to be poetic but cannot succeed even a tiny bit. The film is too pretentious in every possible way. The "message" is given poorly, too direct and does not bear the weight or importance. Some things should not be talked on public radio and some scripts should not be made a film.1/10

KAYBEDENLER KÜLÜBÜ (THE LOSERS' CLUB) is director Tolga Örnek's contribution to the cycle of contemporary Turkish films criticizing contemporary life in the metropolis. Others include Çağan Irmak's ISSIZ ADAM (ALONE) (2008) and Zeki Debirkubuz's Dark Tales trilogy of YAZGI, İTİRAF and MASUMİYET.Örnek's film concentrates on a pair of single men, Mete (Yiğit Özsener) and Kaan (Nejat İsler) whose day-jobs are far from fulfilling: Mete spends much of his time in bars, collecting vinyl LPs, or talking to his mother (Serra Yılmaz), while Kaan runs a publishing house issuing coffee-table books that seldom sell. The two men have a thrice- weekly radio show "The Losers' Club" on Kent FM, an independent radio station, where they talk mostly about sex and existentialism, with sex assuming most importance. From modest beginnings the show becomes a cult hit, reaching No. 1 in the charts with a devoted listenership of people from all walks of life - learners, single men, potential suicide victims, artists.Yet despite their aural celebrity, Kaan and Mete lead empty lives, comprised mostly of casual pick-ups, drinking in bars, and pretending to work. Their radio show might be popular, but they do not seem to derive any pleasure from it - apart from a misogynist delight in persuading their female listeners to reveal their sexual secrets on air.Örnek's cinematic style in this film is very different from his previous work. He makes extensive use of the split screen technique, interspersed with sequences comprised of fast cuts and the use of subtitles to highlight some of the characters' dialogue. Such techniques are redolent of American and British films from the so-called "Swinging Sixties," where such techniques illustrated the new-found freedoms - cinematic as well as sexual - enjoyed by young people at that time. In KAYBEDENLER KÜLÜBÜ these techniques emphasize the artificiality of the protagonists' lives; there is nothing beneath the surface of either of them.This emptiness is also evident in their radio show: much of the existential chat is pure bunkum, incomprehensible to most of the listeners. The reason why the show becomes such a cult is because of its unpredictability: the two presenters are continually challenging the borders of acceptability, much to the station controller Aslı's (İdil Fırat's) chagrin.While KAYBEDENLER KÜLÜBÜ is obviously concerned to make social criticisms, its plot in truth is quite slight: perhaps the film could have benefited from a shorter running-time. Örnek's characterization is also quite weak; we learn little about the protagonists' off-air existence, except for their fondness for alcohol and sex. Perhaps less time could have been spent on the use of ostentatious cinematic devices and more on developing the script in greater depth.

Based on the true story of the two Turkish radio jockeys (RJs) from the 90s, who are the talk of the late night. It was more like a Turkish version of 'The Boat that Rocked' but the thing was the radio station and programme were legal. I found the movie was a little slow in pace but deals with an interesting thematic plot.The movie tells the story of Kaan and Mete, the radio show hosts. The two ordinary guys with a boring daily livelihood suddenly become colourful once theirs late night radio programme called 'Loser's Club' instantly becomes a hit. They become the celebrities as well as threats from the religious people. One of them finds his dream girl. Whatsoever they are not ready to change themselves to the current situation. They want left alone like everybody else, so what happens to their fame is the ending part of the movie.Both the lead actors were executed simple performances but looked so powerful. The lead lady, called Zeynep, was also a good and looking cute. Most of the movie shot at the night time, I mean almost, so the light was used very wisely. The movie was simple as its look and complicated to get at first glance. One of a fine Turkish drama I have seen, quite resembles the quality and style of the German movie 'The Lives of Others'.7.5/10

Tolga Ornek is a very successful documentary producer. "Kaybedenler Kulubu" could be a better documentary than a movie. The pace of the movie is sometimes so slow that you lose your concentration. The dialog is sometimes hard to follow and not very interesting at some other times. In the end, I do not find the characters sincere and the radio program they are serving worthwhile to listen. The love in the movie does not get enough electricity but more than enough sex scenes which obviously aim to attract audience to the movie. At the end, I give an OK grade to the movie but easily understand if others love it. (it all depends if you like the characters and the radio show)