Jaddeh khaki

"Long takes statically home in on the characters, who are often inside the vehicle in close vicinity to the camera, whose unspoken emotion and poignant expression is what audience dwells on. As an impending departure is on the horizon, feigned playfulness flakes off a mother's face and bares irrepressible sorrow; a father's habitual sulkiness morphs into resigned tenderness and advice-dispensing, yet his prolong incapacitation (with one injured leg in plaster cast) might take on a more figurative signification here. The only constant is the younger son, whose bratty, sassy cuteness inclines to get under one's skin in no time.

However, when the chips are down, a fixed wide shot keeps the emotional leave-taking in the yonder, a scenic composition with people reduced to ciphers, but its effect is no less impactful, the mother's scurrying desperation is all the more visceral in one's imagination. After a botched last goodbye, HIT THE ROAD finishes with a threnody for the moribund pet dog, vicariously it is also for the departed, but the lip-syncing gimmick seems to push the film towards mawkishness."

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If you wanna watch a movie with real human beings as characters and not caricatures, this is your movie. This is a drama with comedy elements. Deadpan humour some times, heart-warming some others. There is a dividing line between "intellectual" and "highbrow". Most artistic movies cross that line. This one didn't. These are real people and their real problems. But there is no misery here, not doom and gloom. There is hope and love, whilst the movie remains heartfelt. Darkness/Light, Cry/Laughter, Hope/Despair. Balancing eternally.

I could never imagine that a kid who yells and screams all the time, would be such an adorable character. Every actor here is excellent, especially the father.

I can't rate it higher because it's not the most interesting movie ever, it's a simple road movie, not something mindblowing. (Still, it kept my interest). But its simplicity is a positive thing, simultaneously. There is a moment in the middle of it, shall i say, pure magic, you will know when you watch it. Even if you don't like this movie, there is no way you won't love this scene.

An absolute gem in Iranian cinema, where Panah Panahi the son of Jafar Panahi takes the realism to another level, where the reality of life in Iran becomes surreal. "When we were kids, we would swim in it. Nowadays, you can only have a dust bath." The film depicts the very last trip of the family together. But Panahi keeps it real as it is in life. He shows simply by deeply the worries, sorrows and concerns of each family member. The movie is really Iranian, bittersweet. We've learned how to laugh and make jokes in our craziest, saddest times just like when the Mom is dancing with tearful wet eyes.

The actors are great but Pantea Panahiha is absolutely brilliant. Dialogues are so well written and the movie is full of poetic long shots which Panahi has brought from the cinema of his dad and predecessors masters like Kiarostami but it never gets boring.

Quite a strange road trip adventure that walks the lines of dark comedy as much as those of the unexplained, seemingly unhappy circumstances that keep this family's bizarre dramatics moving along.

As much as you really want to know what exactly is going on, the film still succeeds in serving genuine entertainment with an overall experience of humor and culture through moments of classic songs, references to Western cinema, and the most picturesque Persian landscapes that rival other films where anyone has described the scenery as resembling a painting.

Apart from the general impression left on me from the Farhadi films I discovered earlier this year, this was an even more satisfying, yet completely unexpected selection that now holds a place for me as one of the most scenic, comical, and cosmic Iranian films I've ever seen so far.

Excellent humor.

A film full of emotions, without demureness, alternating moods -like those of children-, enchanting landscape and directorial perfection.

Panah Panahi, seems to follow in the footsteps of his father, and his predecessors (e.g. Kiarostami), adding his own modern view.