Karry Best movie of this year hands down!

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Portia Hilton Blistering performances.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

seandavidhasaknife Ever gone to a non-chain coffee shop & saw some ridiculous hipster using a typewriter & wondered what he/she is working on? This is it. Terrible dialogue that a horrible hipster was patting his/herself on the back about. Danny McBride is in it, so that's cool.

Bigbang *spoilers* Another movie where a guy who has mistreated woman in the past learns some tough, hard lessons. It's not a movie where a woman learns any lessons about how to treat guys, because those movies are rarely made. Women don't have to learn any lessons, unless it's to help the fulfillment of their own lives. Women are angels. They never mistreat men, are never manipulative, cruel, or cold, and if they are, the guy "deserved" it.Zooey finally finds a guy who she loves, trusts, cares about, enjoys being with and just staring at, and then on a whim cheats on him at a weekend party. Out of nowhere, and it totally seemed out of place for her character and their relationship. She was a virgin too. You would think she would have wanted to lose her virginity with Paul Schneider, which I think she didn't unless I missed something. I don't know why guys are being fooled by this movie. Zooey's cruel treatment of Paul after she cheated on him was awful. The only guys watching the movie who would be okay with that are the ones with male guilt complex and think guys deserve to be treated badly.Then there's the usual scene where Paul and Zooey are having sex and Zooey has an uninterested and bored look on her face, as if she's just having sex to get it over with and quickly satisfy him. She gets nothing out of it. How many times have we seen this? How's about something different, like showing a guy with a bored look on his face. That happens in real life. A lot. But movies pretend it doesn't.I don't know why people are calling this movie realistic. Did you hear the dialogue? It was very "indie". A little off. Conservations were weird and didn't make too much sense. A lot of it sounded ad-libbed, which is great but it didn't sound like the way people actually talk. Then there was a scene in a bowling alley. They are standing in a lane and Paul starts dancing while Zooey is facing away from him. Sooo indie.I gave the movie a 5 because I like Paul Schneider and as many guys I love Zooey Deschanel. They were both pretty good along with the other actors, but like I said their dialogue was painful at times. I needed someone to just say something normal for once, or to just lighten up. I know poor, rural towns can be depressing, but this is agony.

jzappa Like the buried gold of John Cassavetes, were it not for which films like this would be much rarer than they are, David Gordon Green's slice-of-life movie is too understated and sensitive, and knows too much about character, to deal with their lack of sexual harmony as if it contributes to a plot. Another kind of movie would be completely on the subject of whether or not they have sex. But Green, who feels warmly for his weak, naive characters, worries less about sex than about mood and undisciplined young romanticism. Set in a small Southern mill town, All the Real Girls is a young guy like all the others, who is known for having sex with virtually every girl in town, falls in love with his best friend's younger sister, who is a virgin, and has to attest that this time he is in love rather than in lust.Most movies about youthful romance underestimate and depreciate it. Their mocking makers have not felt real love in a very long time, and scoff at it, maybe on account of resentment. They must find something to be funny about fabricating a high school or college-age guy or girl who magically matures free of all that causes the real ones in the audience to find themselves cynical and insecure. Green may or may not have turned out that way, though most of us do, but he has spirit. He knows that people in love enjoy a stationary night simply enjoying existence, because in each other's embrace, their opinions of existence have grown exceptionally.Green's dialogue has a kind of artless, out-and-out spontaneity. His characters don't have big vocabularies, but they have big ideas. Their words illustrates an acquaintance with harsh conditions, disenchantment. We see the effect that we never otherwise do of the way most of us lean. Most movies and TV shows spread ideas and concepts and viewpoints that leave out many everyday people who either don't see life that way or their lives do not apply to those terms. That's why, in spite of how little appeal the film's depicted life is, it has a certain profundity. It's obliging in that no matter how cultivated or different so many others are by comparison to these people, there are basic, natural feelings that we all share.

MisterWhiplash All the Real Girls is a love story, but according to director David Gordon Green on the DVD he would almost not want to explain what it's about. The reason for this turns out to sound, perhaps, a little too high-minded or poetic, maybe just pretentious, as he expounds upon the way the sun hits the two and a half legged dog and that that's what the movie is 'about'. In short, he explains, the movie is just about how we are. That's possibly a good way of explaining it, or reasoning it or whatever, since the film is not entirely classifiable almost in spite of its more typical and tender elements. But as a work of a director like Green it is something that is all his own, for better or worse (mostly for better), which is something that has been seen in the work he's put out so far with the possible exception or amendment of Pineapple Express.It's by no means a really great love story nor a really great film. Yet as someone who has tried to crack writing his own relationship dramas, this struck a chord. There are real scenes of truth, of revelation and insight, and tenderness and the resolve to try and accept the way things are which can never be done. Paul Schneider plays a character named Paul (how close to real life I leave to you to figure on), who is something of a town Lothario, albeit not really proud of it as we later learn. He and Noel (Zooey Deschanel) fall for each other despite the angry protest of her hick brother Tip. We then see the relationship unfold as something of a first-young love scenario, both for Paul and for virgin Noel, and how it plays out against some more specific drama and character interplay with Paul's frustrated hospital-clown mother (Clarkson) and friend Bust-Ass (Danny McBride).As tends to happens in certain young-love movies, there's something that happens that occurs that mucks the whole thing up- more-so for Paul than Noel in one of those 'funny' kind of hard to take ways- and yet Green even treats this as well as other tougher moments with care and attention to how real and awkward and truthful the actors should play it. This doesn't necessarily mean all the scenes work completely or feel a little jagged with the patient (not really slow) pacing. But when they do work they work very well, like a confession Noel makes to Paul in the hotel room, or a silly scene at a bowling alley. And while Green paints his 'canvas' of sorts with this sleepy blue-collar North Carolina town with some arty montages (the SKY, the high-speed factory, hills and landscapes, pretty pictures), the actors are surprisingly good with seeming to do so little. Part of that is the subtle strengths in the writing, and some of it is just how Scheider and Deschanel keep things simple and sensitive. Even Whigham has a good scene expanding his character. Clarkson is also a given for doing small wonders on screen.If it's not quite one of the most mind-blowing romance films I've seen this decade, it might be that I wasn't entirely in the right frame of mind, or didn't find all of the little scenes with the supporting characters worked as well as the central "plot" (in quotes for redundancy), or that the music is sometimes placed in ill-fitting scenes or is too sappy for my taste. These criticisms aren't to say it's a very well accomplished effort, a small and intelligent picture that doesn't cheat on its characters. It is familiar, and it feels very much a true Sundance fest effort, but it's better than others I've come across for its originality and tact.