Los últimos días de la música disco

Well, before you see this, ask yourself if you either: a) want to engorge yourself with lengthy witty banter, or b) see a Wasp-y version of the weaving of people in and out of relationships like Seinfeld or Woody Allen but with a bigger cast? If your answer is yes, this is your movie. If not, not.

This movie is FAR more like Stillman's others (Metropolitan and Barcelona) than like anything you've seen about disco - which is simply the background. I was surprised that these yuppie characters were so freely admitted to Studio 54 (the set of the film), but perhaps it indicates disco's waning popularity by the early 1980s.

I enjoyed it very much - but it's not everyone's cup of tea.

Another winner from Whit Stillman! This is a very clever, well-written film in the Eric Bogosian or Hal Hartley style of a play for the screen. This film really does feel like theater in many ways, especially the funny and clever, tightly written dialogue.

Superb performance by almost the entire cast (the one exception being McKenzie Astin, who was fairly awful, but was barely onscreen so it was shrugable), raised the film to a level above its potential. Kate Beckinsale was the perfect bitch, so annoying that I wanted to pull her out of the screen and shake her repeatedly;) Christopher Eigeman nearly stole the show as Des, he played the character perfectly, his voice and tone always on edge, the defensiveness and womanizing, the stories he told, all a brilliant package. But Chloë Sevigny more than held her own, with her best performance that I've ever seen...everything from her line release to her body language stuck out; she became Alice.

This film is a definite must see...a great soundtrack, great sets, brilliant writing and better acting. It's a bit long, some scenes feel unnecessary, and at times he seems to be over-hammering his point, but Stillman has still provided us with a near-masterpiece, 8/1.

In the early 80's a group of friends interact around a Manhattan disco, desperate to climb the local social ladder. With an investigation in the disco's financial dealings and the end of disco approaching the friends attempt to carry on as normal.

Director Whit Stillman tends to go for comedies that look inward and have strong comedic dialogue that follow social observations and comment on different cultures and periods. However plot is never one of his major concerns and here is no different. The story here is less important that the period of disco which is the real focus. This may be a bit frustrating to some as the story doesn't seeming to have any one direction. However the characters and the dialogue will generally hold the interest sufficiently. Some of the script is a bit weak and the characters occasionally are a bit too unsympathetic but for the majority the sharp script compliments the characters.

The performances are good throughout - these socialites are not people I'd ever like to meet but they are funny from a distance. There is much to like here if you like this type of humour. But the story is almost non-existent and this is a slight problem.

Overall a clever, funny look at the life of a couple of party girls around the time disco started to suck. Not to everyone's taste and what's that credit sequence ending about? - is it a bit of fun or is it trying to say something?

"The Last Days of Disco" follows a group of newly minted adults in the New York of the early 1980s. They're affluent, and recent products of Ivy League educations but they really don't have much of a clue as to what adulthood is all about. They're groping, but they're not sure for what. They all have jobs, but their lives revolve around a posh disco where they mate, mingle, and talk. There's not much of a plot; "The Last Days of Disco" is mostly a series of conversions. But the conversions are wonderful. Whit Stillman's dialogue is a delight; he nails what its like during those first years of adulthood when the life of the group is replaced by a mature individuality. The ensemble cast is wonderful to watch, not overplaying their characters. I recommend this movie very highly

`You have no idea what men think about women's breasts,' womaniser Des McGrath (Christopher Eigeman) pleads. No, not a rehash of Boogie Nights, but the third instalment, following Metropolitan and Barcelona, of Whitman's `yuppie' odyssey.

This New York yarn centres on publishing assistants Charlotte (flawless snotty American accent by Kate Beckinsale) and her best friend/biggest rival Alice (Chloe Sevigny). Bitchy Charlotte - `In physical terms, I'm cuter than you, but you're much nicer than I am,' - and Alice fall in with a parade of self-absorbed fellows in pullovers and drab ties. The `verbal' action between this set of intellectual folk takes place at a ludicrous dance palace in the very early 80s, with the `disco movement' decaying and Reagan's soul-devouring materialism taking hold.

In the main these are disagreeable people, but as much as you urge yourself to loathe them, you can't quite do it. Whitman's wildly self-indulgent and witty script (`Do you think the neurological effects of caffeine are similar to that of cocaine?') makes them impossible to ignore and eventually their awfulness becomes disturbingly compelling. A bit like Friends, only without dumb Joey and flaky Phoebe.

Although, aesthetically and visually Whitman's film doesn't quite ring true – clothing looks too 90s and they'd never be able to talk so much in a club – the dialogue is fresh and chances are you'll be grinning from here to Bolivia when the "Love Train" rolls through the subway at the end.

• Ben Walsh