As the Herald Sun reviewer has already said, this graceful movie "takes its own sweet time finding a way into your good graces. However, once there, it will not be budged". So very Australian in so many ways. I loved it. Highly recommended to movie lovers who are willing to sit with quiet, still moments while waiting for the humanity to reveal itself.

A well thought out drama about ordinary people and life, death, and life after death.

This is a marvelous movie at many different levels. Well scripted. well played by wonderful ensemble cast, nuanced, pithy, humorous but its fair share of pathos and social commentary, it touches much of what is the stuff of life. Many of us Australians remember the remarkable film Lantana and this film, though not in the same genre, ranks right up there. Australia is producing some wonderful films of late.

I liked this small film about an estate agent who comes adrift in his own life. He gets a phone call: "It's your mother!" and then he finds a way in which the separate threads of his life can begin to knit together.I had thought it was a comedy. It's not. But parts of it are very funny. Keep an eye out for the safety vests and cones!

A middle-aged semi-successful real estate agent in the midst of a divorce from his actress wife gets a second chance to say goodbye to his mother by proxy when he gets a wrong number phone call from an elderly woman who is dying. The story moves along slowly but is poignant and feels very real. The relationships he has with his boss and friend and the relationship he builds up with the woman and other characters are enjoyable and allow him to redeem himself for whatever he feels he has done wrong in his life.

This is not a great movie, but it is mildly entertaining and, in places, moving and real. La Puglia is excellent a Frank Mollard in a very nuanced role. The story is emotional, sensitive and simple with good character development. The humour is very dry and gentle with a soundtrack that is minimal. It was filmed in Adelaide, South Australia, and I enjoyed watching something that felt familiar. The Adelaide scenery is beautiful. The slow pace of A MONTH OF SUNDAYS wonâ??t suit everyone but the themes are significant and worthy of reflection.

Even favourable external reviews of this witty, wise and beautiful film have been almost dismissive and certainly offhand. One shouldn't be surprised that the aggregated rating on Rotten Tomatoes is sopreposterously low [44% at last glance]; it's a representation of the level of ignorance that's out there in official critland, especially North American critland, but as well in the UK. They have almost no clue what makes Aussies tick, and they won't get this film.'Professional' reviewers lacking the ability to bring real wisdom to bear no matter how broad their knowledge of film still feel entitled to adopt such condescending tones as the following:"could find a few art house takers in Anglophone territories","well-worn notions of redemption and acceptance". To take this tone,vaguely accusatory of unoriginality while finding it crucial to makesure the reader takes note that the reviewer has IDd at least two ofthe themes is a lot like that old joke in which a man wouldn't join any club that would accept him; 'I guessed what the film is about,therefore it's too easy and beneath me'. Shakespeare dealt in 'well worn' themes. They're well worn because they are deeply required themes to be represented for humanity, and they should be eternally worked over. One external newspaper reviewer, someone we need to know is super-clever, found fault with a long camera shot which, being a tribute to another director/film, was 'distracting'. Bring it on I say. The richer the film's material, the more there is to love. Life is also full of subplots and digressions. What's wrong with a little whimsy? It's thoroughly enjoyable. Another claims that the film's central friendship is too unconventional and that suspicions of serial killer madness might be fitting; that the film might better have been made as a thriller. What a poisonous notion, that friendships can only be allowed to exist founded on introductions by mutual friends with the right credentials. I'd like to thank the film makers here for showing Australians what we really do still need to be reminded of, namely that the most desolate culturescape is enriched by the people who dwell therein. We have everything needed for nourishment of the soul to offer each other if we can transcend convention and ennui and only connect. There is nothing wrong with editorialising, nothing wrong with a little didacticism. Why conceal it? You don't have to agree. Just don't find fault with the fact some real values are being presented. Australia has for years been afflicted with a housing 'bubble'. Whole generations of the population are being screwed. People can't afford to buy shelter these days, and television therefore proliferates witharchitecture/house/reno/interior design porn. In Month of Sundays weare shown that even profiteers in this giant racket are demoralised and damaged in such a climate of greed and exploitation. As in another film I love, The Cave of the Yellow Dog, Month of Sundays has plenty of amusing little 'lessons'. As two people cathartically indulge grief-filled nostalgia on the site of a demolished former family home with their backs to the street, behind them processes a bunch of fairy-costumed little girls with party balloons in colours impactfully vivid. The lost past is desolation, but here behind you is the bright and alive present if only you could turn and look. A death is a cruelly unexpected breakup, but if and when you can find the courage to let go, the many colours of life await. The welcome mat is reversed: welcome to the world. Everybody is vulnerable without a single toothmark on the scenery, ever. The acting in this film is really seriously fine and so are the editing decisions. I love a contemplative film that respects actors and the subject enough to let duration pass. This sort of style is powerfully immersive, especially for anyone who may recognise the many cultural references that bring us straight to our memories of very particularly Aussie times and places without recourse to cliché or stereotype. Not enough can be said in praise of this film. External critics, drop your complacent posturing and lift your games!

Been feeling lately that your ego has been getting the upper hand, that you are occasionally displaying tinges of arrogance or bad faith? This film will bring you back to earth. In the leafy suburbs of an Australian town, the real estate industry is in full swing, underquoting, schmoozing, lying, inflating the prices. In this milieu of Mammon, the hack agent Frank, who is losing the will to live, encounters Sarah, a beautiful aged woman, who reminds him of his mother. The film goes a long way into the territory of whom and what you have lost, and could lose, and the emotions of grief, nostalgia and regret, and what you did and didn't do. Anthony La Paglia plays the sorry agent perfectly, as he moves - with help - gradually out of his moribund state into doing the right thing and playing a meaningful role in others' lives. The brilliant NZ/Australian actor/comedian John Clarke is Frank's boss at the agency and delivers some very cynical and very funny moments. The support cast has many fine Australian actors. The film is beautiful to watch, and full of laconic Australian jokes. If you think you know a lot about life, this story will encourage you to reconsider that idea, and try to do better. Most of what you already believe about the real estate industry, though, will be confirmed.