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Ο Χαμένος Τα Παίρνει Όλα 2002
Description: Boy (Gianis Aggelakas), a mysterious boy of the underworld, tiny time grifter and large time hard-man, who has an anarchic tendency to mumble and comment on the system, society, police, the underworld itself and another things, along with his beloved bird, Bellafonte, meets up with an odd posse consisting of kid, who is a young songwriter, a prostitute who gathers cash in order to launch o bookstore, an alcoholic woman haunted by the relationship with her dead mother, and the grudgey bar-woman-ex-girlfriend. The five of them receive caught up in a scheme involving the media, the mob, politicians and the police. And they definitely wish to receive the hell out of the city, probably to some Caribbean paradise.
Released: 31 Jan 2003 Director: Nikos Nikolaidis Writers: Nikos Nikolaidis Actors: Giannis Angelakas, Jenny Kitseli, Ifigenia Asteriadi, Simeon Nikolaidis Genres: Action, Adventure, Drama
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Ο Χαμένος Τα Παίρνει Όλα Reviews:

Probably one of the best underworld films ever created in a non-Hollywood environment. Boy (gianis aggelakas), a mysterious boy of the underworld, tiny time grifter and large time hard-man,who has an anarchic tendency to mumble and comment on the system, society, police, the underworld itself and another things,along with his beloved bird, Bellafonte, meets up with an odd posse consisting of kid, who is a young songwriter, a prostitute who gathers cash in order to launch o bookstore, an alcoholic woman haunted by the relationship with her dead mother, and the grudgey bar-woman-ex-girlfriend. The five of them receive caught up in a scheme involving the media, the mob, politicians and the police. And they definitely wish to receive the hell out of the city, probably to some Caribbean paradise.This is the third Nicolaides movie that has to do with Greek gangland, and the end of his "crime trilogy". Again,like in Glykeia Symmoria, nicolaides makes his own social comments, either using Boy as a mouthpiece (mind you the lyrics of Trypes, the band where aggelakas used to sing in are very "socially aware"), or throughout the plot. The violence is still tough, but there is a wee progressive notion in the film, a sense that nicolaides has matured, and is trying to transport on to newer things since Glykeia Symmoria, making a movie that has the speed of a Jarmusch movie, with an underground storyline.Trivia one: The most of the outside scenes were filmed in the district of Exarchia (Athens), which was popular in the eighties and the nineties as a zone where anarchists, drug addicts, petty criminals and rockers hang outTrivia two: The house were the rave stage was filmed, was torn down a several weeks after the shootTrivia three: The bar were the barmaid is working, was built in 1830. At first it was housing one of Lord Otthos commissars.During the 20th century it was neglected, or used as a brothel.Since the mid 1980s it houses club decadence, one of the most popular alternative rock bars in Athens


The late Nikos Nikolaidis, who I'm sure like Ken Russell will someday be belatedly elevated by movie historians to the pantheon of best cinematic stylists, falters in his penultimate movie LOSER TAKES ALL, arresting in early reels visually but ultimately falling apart due to gross sentimentality and over-reliance on cliché & in-joking. For budding filmmakers it serves as an object lesson that nihilism and sentimentality don't mix.One IMDb-er invoked Jim Jarmusch as a reference point, which I search off-point but helpful nonetheless. That is because Nikolaidis fell victim, like Jarmusch and so many another promising directors (Greenaway, the Kaurismakis, Abel Ferrara; name your own poison) to what I term Filmfestival-it is. As a journalist in the '80s I covered movie fests and studied their history, back to pioneering Venice and the tourist-attraction known as Cannes (created to attract people in the off-season to the fabulous Riviera town).What was once an necessary phenomenon, tell in the '50s and '60s, for discovering talent, creating early-warning-buzz, crystallizing critical opinion and serving as international stores for the purchasing & selling of movie distribution rights, these festivals have proliferated in newest decades to the mission of absurdity. Here in NYC, the De Niro-inspired TriBeCa Movie Festival, a response to 9/11, has a nearly unrivaled track record of screening thousands of terrible films making it useful, as critics like Rex Reed were laughingly referred to back when, as an inverse barometer of a film's worth -if it was shown at TriBeCa it could be avoided.For Nikolaidis and an increasing number of filmmakers, festival coverage no longer promotes or introduces a movie but rather eats up its potential audience - the filmmaker trading eyeballs for truly paying customers at commercial cinemas. Sure, there are ancillary benefits with video deals, pay-cable and actually streaming or VOD exposure, but festival screenings turn out to be the elephants' graveyard for many titles, benefiting the fest's local economy (and backers/staff) but more of a loss leader for a large local party than honest movie exhibition as we once knew it before the industry's tail started wagging the dog in the Video Era.Worse yet is the pernicious result of pandering to the gatekeepers of the festival circuit, many of whose ancestors I knew back in the '80s -the head honchos at Berlin, Sundance, Edinburgh, etc. A certain kind of movie catches on with these elites and their sycophants in what remains of the "film critic" globe (now a job position as obsolete as "travel agent"). What they like is what they get, accounting for the clichéd nature of so many national cinemas that supply fodder for fests. For example I recall the quirky British stereotypical comedies made in the wake of GREGORY'S GIRL's success over 3 decades back, and still with us today, or the dull effects of the "indie" movement of the '80s.LOSER TAKES ALL falls into this rut, opening with pretty atmospherics and overt (but in color) homage to movie noir, right down to a Raoul Walsh WHITE HEAT poster prominently displayed. But unfortunately we don't have Boetticher, Fuller, Walsh, Siodmak and N. Ray as our heroes any more. Instead Nikos starts with tedious Abel Ferrara clichés and quickly segues to almost a parody of the Aki Kaurismaki ironic approach to cinema: the no-good heroes & heroines, drinking beer, making dumb witticisms or in this situation allegorical references as small-talk, and putting up competing cynical world-views while deep-down harboring the most sentimental notions of heroism and camaraderie. Our hero, rock-musician in true life turned lead actor (and not a nice one at that) is certainly out of the Kaurismaki Bros. minigame book, and his rottenness (stealing the ring off the finger of the dead mother of other lead character) to comically pawn or idle rape is just a grinning hipness hiding the film's maudlin central heartbeat.Certain elements remain relevant: the hero's Luddite philosophy is almost poignant (he rejects a cell smartphone for example) actually that the fight vs rampaging technology has been lost; his insistence on drachmas instead of those horrible Euros is the source of unintended black humor given Greece's on-going fiscal crisis; and the persistent "We must receive out of this place" theme is still a strong if overdone message for those of us who came of age in the '60s.The movie's many crucial faults contain a cavalier attitude towards characters, most notably the comic relief drunken beauty who keeps throwing up on the main actress referred to as Black Beauty (Louise Attah, often speaking in English), and the irritating and predictable test of the Leonard Cohen figure (singing his own mournful ballads in English throughout) guitarist whose sentimental end was terrible fimmaking at its worst. Similarly, the stunning shots in the first reel are followed by tiresome, poorly staged confrontations in the rest of the movie that even crappy action film directors execute far better than Nikos. Our impervious character shooting off his gun randomly at baddies is ridiculous on all lvls and killed off my involvement in the ongoing story.


A nice film if we consider that is created by Greek director and actors; it is also filmed in Greece which is not the greatest country for filming a film and i guess without the proper (Hollywood) equipment and staff, such as painters, stylists etc.The star of the film is Yiannis Aggelakas, who is the leader of the Greek rock band 'Trypes', which is very popular to all Greek and Cypriot people. His acting absolutely matches his role, so as a fanatic of him i have to give him a large thumb up! The film is similar to drugs and prostitution, and in more general, the underworld of Greece. The film in the beginning is easy and slow, but in the end it gets more and more exciting unleashing the atmosphere of the underworld making the film really interesting.If you are a speaker of the Greek language is worth the time to watch it. It's one of the greatest Greek films ever!



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