Matialth Good concept, poorly executed.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Yash Wade Close shines in drama with strong language, adult themes.

stephenlovelette You gotta love a movie that holds up.Not much needs to be said.Written and directed by Barry Levinson, nominated for Best Screenplay and set in Baltimore 1959.I'll try not to spoil anything, because if you like movies and haven't seen this gem, you must catch it soon. It's funny, poignant and has a spectacular cast.I can't get enough of Paul Reiser's character, Modell. Good Golly he's funny.Discussing the concept of evolution, Reiser speaks one of my favorite lines, "The guy who makes up this stuff it's the stupidest thing I've ever heard - people do not come from swamps. They come from Europe."This line comes from potentially the best post-movie credit sequence I've ever seen (or rather, heard). It's a philosophical comedic audio layover, a bonus diner conversation; an adequate apology for the abrupt freeze-frame ending.I love how Reiser's constantly hassling Steve Guttenberg's character for rides. They're all such close friends, Reiser manages to never actually ask for the lift, he always gets The Gute to offer.A young Mickey Rourke is almost unrecognizable in this film. And he delivers a spectacular performance.Daniel Stern's character is also great, now that I think about it. You know him from Home Alone. His character is such a well-meaning fella. When he argues with his wife over his records, you don't know who to root for, and it'll set your heart-strings aquiver.It can get dusty at times.Stern also has a great moment with Guttenberg, when he explains that getting married doesn't necessarily make life any easier.Kevin Bacon's character is, as always, excellently executed. He is like a tightly wound spring, but worth much more than first appears.The minor character who memorizes the lines from "Sweet Smell of Success," cracks me up every time he interrupts a conversation.I'm not sure if women will enjoy this film as much as men. The themes seem very masculine; they reflect the subtleties of my interactions with my male friends. I'd be interested to hear if women feel like they really connect with certain aspects of the movie.One might say Diner is misogynistic.I say, "Feh!"One could argue that the pacing is slow at the beginning, but personally, I won't do so.The only criticism I can muster is about the moment of most tension, the pinnacle of the film's conflict. It gets resolved in such a quick fashion it might make your head tilt.Otherwise, this is a spectacular film.As always, don't expect too much, and you'll be oh-so-sweetly rewarded.

p-stepien The everyday life of six friends concentrically focuses around a diner - in some manner symbolising a sense of nonfluctuating stability, whilst everything else around them changes: marriage, children, work and ideals. Eddie (Steve Guttenberg) is on the verge of getting hitched, laden with certain doubts about his choice. Shrevie (Daniel Stern), the only married man among the bunch, is a musical geek happily wed to Beth (Ellen Barkin). Boogie (Mickey Rourke) represents the opposite, a free spirit with a weakness for gambling and women, studying law only to impress the ladies. Similarly Timothy Fenwick Jr. (Kevin Bacon) lives recklessly and aimlessly - despite belonging to a wealthy and influential family he spends his time disconnected from them and slacking it off in his Porsche. Billy (Tim Daly) seems to be the groups father figure, rational and always controlled. That is until he platonic friend declares she is pregnant with his child after a single night of madness. The sixth of the pack is Modell (Paul Reiser), whose seemingly only role is to make up the numbers.Through this loquacious picture haplessly concentrating key events around a diner slash meeting place of choice for six best friends we venture into the feeling of a time and place, one so internally American than it fails to strike a cord with overseas audience. Mischievous and at times subversively funny the end result is however tailor-made for local audiences, who can fully appreciate the backyard amiability of the witty gang. Not to say this is a bad thing - some things aren't meant to have global appeal and within its target it is undoubtedly an intriguing gem, one still influential for buddy or verbose flicks and also a point of reference for such movies as "Before Sunrise" or "Smoke".Talkative and largely improvised features tirades by great actors, whose magnetic presence captivates, especially when talking about Bacon or Rourke. Despite however my best intentions I found myself unable to relate to the characters and their all-American traits.

dan-800 Look, I'm a guy. I like guy sh*t. I actually happen to like guys more than just hanging out with them, but beyond liking having sex with guys, I'm pretty much a guy's guy. This movie made me HATE guys. Hate men. Hate every simpering, punchable character who was male. From someone who likes guys (both sexually and platonically), and for a movie full of (at the time) very cute, talented male actors, this movie worked very hard to make me LOATHE each and every one of them. Moreover, I really liked the females. I sympathized with them. From Steve Guttenberg's mother who didn't want to make her piece of sh*t son a sandwich, to Ellen Barkin, who was stuck with an idiot as*hole who didn't want her touching his records and actually conned his good friend to fake seduce his own wife (WTF?), to the girl that Guttenberg finally married (and why the F**K any girl would marry a bag of SH*T that makes her pass an inane test about football is beyond me). This is incredible. Barry Levinson - who was shockingly (or maybe not so shockingly) nominated for an Oscar for this drivel - should be more than ashamed, he should be flogged publicly. All he managed to do was make me want to eviscerate and choke the life out of every male character in this movie. I'm serious. If the flick ended in a bloodbath with the women killing every man painfully, I would be cheering!

m-trzcinski I have seen a heck of a lot of bad movies in my day. Most of the ones I would qualify as being "the worst" fall into that MANOS/PLAN 9 variety of really crappy B-movies that no one in their right mind would find enjoyable, except in a so-bad-it's-good vein. DINER is a different story. So many people find it "funny" and "charming", with even the great Siskel and Ebert calling it one of 1982's best films. Why? WHY? This film has absolutely nothing to offer anyone, yet it is so beloved. It's not incompetent or repulsive, I suppose, but in all my years as a film buff I have yet to see another film this boring. Say what you want about Ed Wood, but at least his schlock keeps you awake. While watching DINER I had to fight to keep my eyes open. This film has no laughs, no charms, no characters I cared about, no insights into life, no interesting technical merits, no quotable dialogue, nothing I could possibly recommend it on. And to make it even worse, people LIKE it. I've actually heard it compared to George Lucas' coming-of-age classic American GRAFFITI, which is one of the biggest insults to American GRAFFITI one can give. DINER should be avoided at all costs, unless you are looking for a cure for your insomnia.