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What Movies Will It Remind You Of? Screwball gags and mistaken identity laughs are the order of the day in the Thai film Tootsies & the Fake, also on Netflix, while the South Korean action comedy Seoul Vibe pits a tough luck crew of friends and precision drivers against a powerful band of money launderers.

The Lost Lotteries is one of the whackiest and most fast-paced films you will watch on Netflix. The film, according to IMDB, is about five down-on-their-luck strangers who must band together to steal back winning lottery tickets worth millions from a wicked mafia boss.

Download Film The Lost Lotteries

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Amanda Guarragi joined Ready Steady Cut as an Entertainment Writer in June 2022. She is a Toronto-based film critic who has covered TIFF, Sundance Film Festival, Austin Film Festival, and HorrorFest International. Amanda is also a growing YouTuber, with her channel Candid Cinema growing in popularity.

Written and directed by Thai filmmaker Prueksa Amaruji, The Lost Lotteries is a fun slapstick comedy that just premiered on Netflix. This film is the first of four Thai productions Netflix is set to release as original features. Upon its premiere, the response has been mixed, leaning towards positive. On IMDB, the film gathered a rating of 5.4/10, while its rank on MyDramaList is a favorable 7.2/10.

There are some funny moments here, but sometimes the violence (particularly toward women) outweighs the intended humor. Thus, mileage will vary for viewers of The Lost Lotteries, as some of the violence might be a bit much for some. The way the violence is portrayed might have made more sense if the film was animated, but then again, maybe not. But this illustrates the way the violence is handled. For example, after her husband leaves her while pregnant, a mother tries to kill herself by drinking bathroom cleaner, but the scene is "presented" comically. As are other scenes that show young women repeatedly being punched in the face, kneed in the stomach, and groped and sexually assaulted.

Additionally, because of all the "comical" violence, there's never a real sense of threat or danger or consequence to the violence for the main characters or the villains. While this provides a sense of chaos to the proceedings, it also makes the film seem at best random and at worst illogical.

No spoiler there because this occurs in very early scenes, with the film devoted to the search for these Bucharest thieves. The most desperate, Dinel needs money to, possibly, reunite with his wife who has either run off with her boss or has been kidnapped with a ransom demanded for her return from Italy.

Just a great ensemble heist comedy from Thailand about some lost lottery tickets. A swift pace, some fun action, lots of silliness and a likeable cast make this one a winner, ignore the other, grumpy reviews on here.

Andrea Riseborough may have hit the lottery with her portrayal of an addicted mother who wasted her power-ball winnings. Momentum pictures released the trailer for To Leslie earlier this week and the quiet grounded indie drama looks like a film you can bet on.

PFEIFFER: But we rarely find out what happens to them after that. The new movie, "To Leslie," is about a single mom in West Texas years after she buys a lotto ticket worth $190,000. She quickly squanders her winnings and loses family and friends along the way. The film follows her battle with alcoholism, her relationship struggles and her attempts to redeem herself.

RISEBOROUGH: ...And tells her to stop being a child because it's not helping her, and she knows that. And she has a child. And her own child is parenting her. And she's so lost in that dynamic. How wonderful that humans are able to come to a place having felt so isolated and lonely where there's a sort of rebirth and excitement about life again, about the most simple things. I think the most important thing, which is what the film is about - you know, a healthy connection with others.

In 1960, Rene Clair was the first film director to be elected a member of the prestigious Academie Francaise. As the newest of the arts to the most conservative international humanities organizations, the cinema's first representative had to be an acknowledged master of his art, not just within France, but in the estimation of the world. Clair's election occurred even before that of Jean Renoir; in his day, Clair's colleagues in the arts thought him Renoir's equal. In the tradition of his painter father, Renoir was the French cinema's great impressionist, his masterworks like A Day in the Country and The Rules of the Game capturing what seem to be casual observations of the passing moment that turn out to be profound and timeless truths. Clair, on the other hand, was his era's great surrealist, using every one of the cinema's attributes to paint an impish, warped, often bitter, and yet perpetually delighted view of the world around him.

Quoting Rimbaud in his speech to the Academie, Clair said "I believed in all enchantments." And so he did. Several of his silent films, such as The Crazy Ray and the Dadaist visual essay Entr'acte (both 1924) and The Imaginary Voyage (1926) are among the landmarks of cinematic surrealism, each looking as inventive and deranged today as on the day they were released. In a few short years, Clair grew to be a film artist with a unique and personal vision.

And yet, the coming of sound made Clair deeply anxious. "[The cinema] has conquered the world of voices, but it has lost the world of dreams," he fumed, fearful that the whimsical visual devices on which he depended, such as double exposures, fast and slow motion, and miraculous appearances and disappearances, would be dulled by the literalism that sound was bringing to the cinema. His first sound film, Under the Roofs of Paris (1930) cleverly used non-synchronous sound and music to defeat the tyranny of the voice. But Clair wished to confound the unthinking enthusiasm of the movies for the human voice, and in Le Million, he eloquently burlesques the agonized synchrony of early American sound musicals of 1928 and 1929 such as The Lights of New York and The Broadway Melody. The result was a use of sound as an expressive device, rather than a realist convention. In the process, Clair showed the musical what it might become at its most madcap ( The Marx brothers' A Night at the Opera, made only four years later, seems directly influenced by Le Million) or at its most deeply invested in the truth of its own dream world (Vincente Minelli's 1948's The Pirate, with its total immersion in music and fantasy, seems the logical destination of the assumptions put into play in Le Million). The early sound cinema of Ernst Lubitsch (Trouble in Paradise, 1932) and Rouben Mamoulian (Love Me Tonight, 1932) were acknowledged in their day as indebted to Le Million, which received worldwide release.

The film's premise is nothing more substantial than the pursuit of a coat, in the pocket of which resides a winning lottery ticket. Accompanying that pursuit are the cheers of a rugby crowd, with the game no where in sight. A group of creditors bellow comic musical choruses in earnest Pirates of Penzance outlandishness. And , in the film's most famous sequence, the emotions of two young lovers are displaced onto the thundering larynxes of two portly opera singers.

Rene Clair's first three sound films, Under the Roofs of Paris, Le Million, and A nous la liberte (1931) remain articulate and convincing arguments against the hardening of the cinema's stylistic arteries. Clair would speak to the Academie Francaise, in his 1962 investiture speech, of the "generous revolution" he and fellow movie-making iconoclasts had mounted against what to them seemed a dismaying trend toward ossification and repetition in the cinema. Against a grey background of convention, said Clair, there were

a few unforgettable visions like the ones that, pressed down on our foreheads by the night wind, leave such an imprint on it that in bringing it to mind we waver between the illusion of the real and the reality of the ream." Every filmmaker in the sound era who has sought to reject the cold inheritance of empty tradition, from Lubitsch to Busby Berkeley to Preston Sturges to Jean-Luc Godard to Werner Herzog to the Coen brothers, owes something of the privilege of joyous rebellion to Rene Clair.

We have all dreamed about winning the lottery and how we would spend the money, but very few people actually see that dream turn into a reality. Unfortunately, about a third of people who do win a lottery find themselves broke within just a few years. They become obsessed with the lifestyle and blow their winnings on exotic vehicles, shopping sprees, fancy homes, and lavish vacations. Before long, they find themselves in a worse situation than they were in before their winning moment. Here are ten lottery winners who lost it all.

The plot for this film was pretty interesting. Six people that dont really know eachother band together to steal back some winning lottery tickets from the mafia. Iv'e never seen any of the asian comedys on netflix so this was something new for me. The cast were interesting to see and I felt they all played their roles well. Sure the movie was not overly funny, but it had elements here and there that gandered a couple of laughs out of me. I feel like a similer plot could be done again but in a different setting. Maybe not necessarily a comedy but more of something serious. Overall this was a pretty good movie with a fun cast and a decent amount of laughs.

You have The Lost Lotteries, a Pruke Emruji film about a pack of losers who are trying to steal a winning lotto ticket back from gangsters. Starring teen star Sky Wongrawee, it will stream globally on 17 November.

Award-winning director Wisit Sasanatieng debuts on Netflix with The Murderer (working title), a satire that focuses on an English man who is accused of murdering his Thai father-in-law. This film sees the return of legendary comedian Mum Jokmok to the screen. e24fc04721