Greenes Please don't spend money on this.

Phonearl Good start, but then it gets ruined

Majorthebys Charming and brutal

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

JMMM *Spoilers* This movie struck me hard. Its pace is like several short stories that bring the beauty of life in small conversations. It's not so very much a comedy, as it is more so a slice of life and drama. The pace does match the motif; this is Julian's walk towards the end of life.The two friends are different people, but they understand each other - it's clear they fill each other's gaps. Tomas has to dive into the grim reality of Julian's coming death. Julian tackles the challenging procedures that accompany death with a level and mature head, much to Tomas' discomfort.However, Tomas quickly understands although Julian is a strong personality and a brave person, he needs help getting through the 'logistics' of dying. He just needs a friend to walk with him to the end. Money is no question for Tomas, and it's interesting they don't speak too much about their personal past or talk about their memories together. But the two actors are so in sync in the present moment you feel like you are a voyeur in a very long and profound friendship.It's also interesting to see the power of what having a true friend can do to your life. With Julian's encounters with the fake friends at the restaurant and the friend he hurt, we see very great slices of life. The power of having a great friend, the cowardice of 'fake' friends, the consequences of betraying a friend, and the accountability of taking ownership.Although Tomas is at first uncomfortable with coordination with Julian through these painful rites of passage of death, he quickly steps up to the plate. When Julian realises how small an urn is, his eye turns glassy, and it is evident he is replaying his entire life. Hi was a stage legend in his life, and now everything of his being will be fit into a small jar. Tomas is fast to recognise this and takes charge of the conversation and asks for the estimates and billing information. He also facilitates Julian's visit to see his son Nico, and challenges Julian to do the right thing, and tell him of the decision to skip chemo.I gave the actor who played Nico a hard time because he seemed so awkward, but when more is revealed about him later, I can understand how a 21 kid could look so uncomfortable. When Julian and Nico hug their last hug, I cried so so so much. I'm tearing up thinking about it even now. This film is such a powerful movie.I wanted to mention; someone felt the sex scene was unnecessary. I felt at first the length of it was a bit overkill, but I understood the power in the point of the scene. Tomas and Paula are both frustrated with Julian, but still, can't find themselves being able to express how they feel as they know it would be unfair to Julian at this point of his life *death*. So to find a release for their frustration in orgasm is a touching scene, albeit a bit too long.Then there's Truman. I have a dog, and this dog made me cry too much during this movie. Julian is broke at the end of his life. His boss fired from his passion for acting; he has no real friends in Madrid other than his cousin. Julian needs to be in control in the end, and he needs to be the one who decides when it's time for his life to end. But he knows he can't do any of this without knowing Truman is in good hands. Geez, at the very end of this movie, I was not expecting what I saw. When Tomas gives Julian the leash and starts talking, I just cried my life away. The actor who plays Tomas does this scene so well, of hearing out Julian, not interrupting him, and just accepting this gift. He understood that although he was able to bring joy to Julian, and hopefully give Julian strength (and money) to live a little bit longer to see his son again, Julian's choice was clear. He took care of every aspect Tomas would need to know, and gave him the best gift he could afford - his dog.It also shows how he proves his love for his friend, he could not speak to him like he wanted to, nor could Tomas spend as much time as he wanted to, he could not express his feelings verbally, but he was present. He was present and able to take action for Julian. And this is such a great testament to what you can do for someone who has lost someone, or is grieving, or is at the end of their journey. Just be there, be present, just acknowledge them, and let them feel empowered to face their life situation.I think this is the best movie I've seen this year. It is slow paced and simple but very touching. I hope everyone could have a friendship like this.

David Ferguson Greetings again from the darkness. Is this a cancer movie? A dog movie? A buddy movie? Well, the answer is yes – at least somewhat – to all three. Writer/director Cesc Gay and co-writer Tomas Aragay offer up an unusually paced and uniquely focused film that is likely to strike a chord with many viewers, while leaving some others thinking, what's the point? For those of us in that first group, it's an absorbing ride-along with a not overly likable character who is out to put his proverbial "affairs in order".Two exceedingly talented actors take the lead here and draw us right in. Ricardo Darin (terrific in The Secret in Their Eyes, 2009) is Julian, and Javier Camera (an Almodovar regular, so shuddersome in Talk to Her) is his long time friend Tomas. Knowing his friend is dying, Tomas hops on a plane back to Madrid, from his new life in Canada, in order to spend four days and yes, to say goodbye.The surprise visit sends the two long-time buds on a kind of (mostly) inner-city "road trip". Their daily outings include: a trip to the veterinarian so Julian can prepare his dog Truman (a non-puppy Bullmastiff) for the coming change; a doctor visit to convey the desire to cease treatment on the tumors; a bookstore to search for material on pet psychology; a diner where Julian confronts old friends – a lunch that provides significant insight into Julian's mindset; an in-home visit to a potential pet adoption family; a direct chat proving 'the show must go on' with the owner (Jose Luis Gomez) of the theatre where Julian works as an actor; a spur of the moment flight to Amsterdam for lunch with Julian's estranged son Nico and wife Sophie; and a meet on the street with Julian's ex-wife. In between, there are exchanges with Julian's cousin Paula (a very good Dolores Fonzi) who can't hide her frustration despite offering unwavering support.There are many wonderfully subtle moments that keep the story grounded and prevent anything approaching the typically over-dramatic movie that we have become so accustomed to. Death and comedy don't tend to blend well, but there are some charming and even comical moments that sneak in … sometimes during the moments that Julian is expressing regret for things said or done, or not said or done. He attempts to make amends, but this isn't about the profound moments – no, it's about the small ones. When Julian mutters the brilliant line, "I used to be a romantic hero", we know exactly what it means. This isn't the usual tear-jerker, but it will likely tug at the heart strings, even as it touches on death on one's own terms (a common cinematic theme these days).

Sara Martin This movie has been highly praised for its portrait of male friendship but it is, rather, a portrait of two men unable to communicate even in the worst circumstances. This is why, as usual, the screenwriters need to bring into the story a stereotyped female character whose only function is to channel the emotions the men cannot express. She, of course, is completely at their service, as carer for one as sex object for the other, never demanding anything from them. I just wish the two men had jumped into bed together rather than this woman being used in this pathetic way... Perhaps I'm being unfair and this IS a realistic portrait of how men connect with each other and how they need women to fulfill the need to express emotion. Yet, there are much better portraits of male friendship for which women need not be used: see 'Master and Commander' for an outstanding example. And hundreds of other films.

LeoDRK As the film deals with the about-to-happen death of the main character, the screenplay writer uses the adoption of Truman as the driving force of the film. This is a good idea. It appears a little to late (about 12 minutes) in the film time. But the problem is it scarcely shows up afterwards. The adoption issue should appear more often to give the spectator the sense of important matter. Instead of that, the film dilutes itself in the actual Julián (Ricardo Darín) problems and the story of Paula and Tomás (Julián's friend and cousin). What we feel is the story do not evolve, we get stuck in a sequence of events which take us nowhere. Truman's adoption is taken back later in the film. But it's too late as it is the end of the story.