If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

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.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Yell yell yell yell scream scream scream scream whine whine whine whine cry cry cry cry plead plead plead plead sniff sniff sniff sniff cuss cuss cuss cuss bond bond bond bond suffer suffer suffer suffer unhappy unhappy unhappy unhappy poor me poor me poor me poor me you've seen this all before you've seen this all before you've seen this all before you've seen this all before yawn yawn yawn yawn snooze snooze snooze snooze.....The Italian sounded great, and sensuous and romantic-- what they were saying was redundant redundant redundant redundant-- watch a TV soap opera instead, at least they say the vapid lines in English so you don't have to "read" the movie as you try to watch it. Literally-- skip three chapters ahead and you can pick it right up. Aboslutely nothing new here.

"The Last Kiss" is a bit ambiguous, I think, but it seems more like an indictment than of a celebration of men. (If I'm wrong, then the ending is a drippy cop-out and the worst of any good movie I've ever seen). How else does one account for the central character being arguably the most reprehensible of a nearly irredeemable lot. True, not all these guys are unsympathetic but they do exist in a tiny continuum of male bonding--which is invariably a superficial enterprise--and arrested development. They pose two choices to themselves--the boring safety of a loveless marriage or an endless all-male safari in Africa. The only exception to this group is Giulia's mother's ex-lover who is capable of both love and thought. The rest are child men who experience un-accommodating women as the pressure of unfreedom and traps. (yes, there's far more drama here than comedy) The three worst men in the group are Carlos, Alberto, and Paulo. Paulo is a fast-talking, faster-acting cad who can't settle for anything less than ownership of his partner. He expresses public hostility and violence toward both her and her new boyfriend. To him she is a ball-breaking bitch--she wears glasses, no less. Jealousy is the only real emotion he experiences. He's so caught in this swirl that he's hardly aware of his own dying father. What he needs is to escape the whole female world and so he signs on to the deserter's expedition.Alberto is a brazen womanizer. Unlike Paulo, he has no moments of softness. He has no problem with starry-eyed lies to sincere lovers. His long hair, hipness, and cool signify nothing in terms of breaking any gender molds. In fact, he is more detestable than his more conservative buddies---who he really likes more than women, interrupting his "love-making" on their account, and as ready for the African adventure as any of them. His difference may fool enough "chicks" to keep him satisfied, but his is a phallic worldview, which offers him prerogatives and privileges he is only too willing to embrace.Carlos, as more like everyman, showing what the average guy is capable of when his ideals are subject to a slight amount of "pressure," is perhaps the most insidious of the lot. He is a skin deep kind of guy--knowing enough but passive. He has a wandering mind, a wandering intent, a wandering consciousness. And these are what he brings to his moments of crisis. First he half cheats on a courageous--and soon ferocious wife, then he tries to lie his way back, then takes direct revenge on her by sleeping with the just discarded Francesca, and then, adopting a de-sensitized Alberto posture, checks out on this loving teen with nary a glance or a word. Finally, borrowing from fast-talking Paulo, he play-acts the wounded lover, and ingratiates himself with his wife, who eventually caves (not convincingly) for form's sake. Now Giulia has two children--she is pregnant with a girl--a daughter and a husband-son. The child man has arranged a for a child life. For the order, safety, and emotional certainty that wife and mother represent for him are now his. (Of course, Giulia, might soon disturb this placid scenario, as the final note seems to imply--looks like another child man though)

'The chords ring so familiar / To a man who's heard it all before' - or also to a woman who's heard it all before, as we could paraphrase the above line from a song included in the film score. 'L'ultimo bacio' is really made up of situations recycled from stuff seen and even read before, stuff that had been heard before even in the age of William Shakespeare. But. You can't help but enjoy it. You have to take no effort to stay with this movie. It takes you through the well-charted territory of mismanaged human relationships, the betrayal and the begging for forgiveness part, and makes it a joyride thanks to good pacing and wonderful acting that at times brings out your most gloating self from you. OK, if you have done everything perfectly in your life so far, you might not start laughing... But otherwise you'll simply feel like being in the middle of this all the way. The movie is filled with the sort of everyday desperation that is fed mostly by everyday desperation which just doesn't make sense but is there for most of us.As far as the acting's concerned, Giovanna Mezzogiorno and Stefano Accorsi are definitely in the focus here, but even the supporting cast is doing great and have a lot more than bit parts. OK, I zeroed in on Giovanna Mezzogiorno most of the time, but that doesn't blind me to the value in the others' performance. So, make fun of yourself and watch this film, recommended.

Spoiler, I guess.But this is not a who-done-it, or even a will-he-do-it. It is a study of the consequences of a person's actions. The medium of movies really defines what can be depicted. It asks for action, strong emotion and the expression thereof. And of course, sex. And why not; it is built into who we are. If sex had been a drive on the level of, let's say, the need for aesthetic experience or love for music, well, we wouldn't have been here to talk about it.Humans evolved because of, and in spite of, conditions that were challenging. War, disease, famine, all that good stuff, made us what we are. That's why we eat too much, revere loyalty (to our clan) and despise our enemies.But through it all, when we were hungry, frightened and at risk of survival, we wanted to merge our genetic code with another bringing forth a continuation of the species, or get laid. Lust, horniness, all that must be controlled by civilization, must be unleashed for human survival. The conflict is everlasting and can only be shaped by culture, never eliminated.So, we love to be reminded of this need, this consummate pleasure, and watch the ideal, and to revel in the experience vicariously."The Last Kiss" manages to do something pretty rare, extol restraint. They get there by showing a night when it is foregone, but only to illustrate the contrast. They build a world that is rich in the reality of lost romance and the satisfaction of routine, mind numbing, comforting routine; the routine of friendships, affection, family and memories; and commitment to values beyond one's self.Sometimes films can transcend their medium, embed meaning into entertainment. This one does it, an achievement to be appreciated and enjoyed.