Very very predictable, including the post credit scene !!!

Very best movie i ever watch

i must have seen a different film!!

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

The title says it all. This movie goes nowhere. Unfortunately it doesn't go nowhere fast. I should've seen the writing on the wall considering the movie starts out LITERALLY watching paint dry.From there it only slows down. And devolves to absolutely incredulous stupidity by the major players.Want to switch the same scene three times? This is your movie.Want to wonder how stupid people could possibly be? Yep, watch this.Want to watch paint dry? A full minute of someone tying their shoes? 45 seconds cleaning the garbage out of their car? Film just being run to run film? GET.THIS.MOVIE.Sound intolerable? Save yourself the 2 hours. Trust me. Or don't, but you were warned.

This was among the most exciting news in recent years, a new Monte Hellman film out of nowhere. In the pipeline for some time but released without any hooplah or major headlines, this much was at least proper for a man who made incognito some of the unique films of the American underground: Ride in the Whirlwind, The Shooting, Two-Lane Blacktop, Cockfighter.But this one intrigued in a different way; gone but always remembered is the great Warren Oates, gone the mute drifters and brooding alienation of that time, but it would not be hackwork for hire, a re-shoot or mere work assignment, this one promised to be a dark personal vision like he hadn't been given the opportunity to direct in a long time.So gone is Blacktop and Oates, this is a new thing for Hellman. But old in terms of cinema. It is the old trope of a film about a film, filtered through film noir and French New Wave. Lynch, pundits assert. So one layer is a film about the makings of the film we are watching, referencing a life in movies and around movie sets that Hellman knows too well. Material deliberately chosen to be pulpy and reflecting movie plots that we know from noir is the backbone, a story of illicit love and suicide and behind it political intrigue and stolen money, presumably real events that our visionary filmmaker is fighting to turn into a movie.Another layer is that story interspersed throughout as a film-within and gradually being shaped into the film being shot. But is it? Or is something more sinister afoot and only masquerading as our film? The idea: where does one dream end and the next begin, and is the space where one bleeds into the other reality or fiction.The mechanisms that generate images are well sketched: desire, codified as our actress and referencing the femme fatale - another woman playing a role - and film noir dynamics, and the self perceiving itself separate, here very directly our filmmaker selectively framing a part of real life as a moving illusion. The downside is not that it's slow and muddled as reported by some viewers. The downside is that since Hellman's day we've had several filmmakers probe and abstract deeper. We've had Lynch. This is not as complex or dangerous as believes to be. The machinery is never less than obvious. And occasionally as hamfisted as a camera being mistaken by police for a gun.Hellman shoots this like it's going to be his crowning achievement. It's not, mostly because in this specific niche compete the most adventurous filmmakers of our time. This is not and has never been Hellman's natural space. He can't help but disappoint. But it's a new Hellman film and in a new direction and that's something to get excited for these days, right?

Finally, after 21 years, we get a new Monte Hellman film, and, despite the negative reviews on this site, it is a winner, a magnificent piece of film art! Road to Nowhere is not the typical Hollywood entertainment fluff, and thank goodness. In a world where bad 70's television shows and comic book heroes are shoved down our throats on a weekly basis, a film like this is a lifesaver. Without spoiling anything, I can tell you that the themes of alienation, absurdity, and identity that are the hallmarks of Hellman's direction are present in spades, as well as meditations on the nature of art and the nature of film. If you are looking for intellectual stimulation and some relief from standard Hollywood fare, look no further. As films-about- films go, this one stands with Last Year at Marienbad and Persona. Not to be missed.

Like the title of this horrible nothing of a film, it truly goes no where, sure I liked the first 5 to 10 minutes and thought hey this could be good. But again I was fooled, I really should have paid more attention to the cast of no body's, it tends to be a good indication what a film is going to be like, and yes I have been wrong before, but most times it is a pretty good way to sort out the good from the bad.Don't get me wrong this could have been an O.K film but it had no direction of any kind, and really no fault of the cast that this ended up to be a stinker of a boring film. They seemed to really try to hard doing absolutely nothing with a script that has no direction of any kind.If you are O.K with wasting about 2 hours of your life than go for it, I myself just have better things to do, hence I gave up on this film half way through.Up there with the worst stinker of the year for 2011, very solid 1 out of 10.And watch the rating of 6.4 tumble over the next few weeks!Update Update!!!! and for those who voted positive for this disaster, please note the rating of 6.4, it is coming down! What does that mean? it stinks!