Oneirosophos The majority of Greek movies whose plot is mainly social, are bad. Extremely bad, to the point of boredom & depression. This is one of them.This movie is inspired by a hijack on a long-distance bus, that took place in North Greece in 1999, where an Albanian went mad, took hostages and went back to Albania, where the Albanian police shot him, along with a Greek passenger that resembled him.This could be an intense movie, but Giannaris preferred to rip-off some pieces of Speed, in a very bad way, adding to this mixture some very bad acting from the most actors and actresses, who sing like in a '50s Greek movie. Also, the death of the hijacker is one of the worst in cinema, ever made. The whole scene is hilariously bad.Don't watch it. Just don't.

MartinHafer While this isn't a great film by any stretch, it is a very interesting fictional film based very loosely on a real-life incident. An Albanian living in Greece gets on a bus along with about 20 passengers. Shortly after the bus leaves town, the man reveals that he's got a grenade and an AK-47. He demands 500,000 Euros and some specific guns that the police supposedly know about but the audience viewing the film really doesn't understand. As the film progresses, the reasons for why the hijacking occurred are slowly leaked out through flashbacks. In many ways this seems intended to help explain and justify the hijacker's behaviors. While this is unsettling that they would try to make the viewer like or at least understand such evil behaviors, the writers did a good job of sucking the audience inside his dilemma and giving them some level of empathy.Excellent writing, direction and realistic acting make this a pretty good film. The only negatives are the presence of too much urinating in the film (yuck) and I was really left wondering about the real story--were the cops the "bad guys" and the kidnapper a frustrated and angry "innocent"?

trickstar_trippy Jesus. What a bore. This film is even worse than Romanian films (give or take one or two). The photography sucked big time (I think they shot it on digital format, you can almost tell by the plain two-dimensional shots, unimaginative hand held's, and dull colors - and don't tell me that's bleach-by-pass). I do know the Balkans are a very troubled region, where deep-seated xenophobia and nationalistic behavior make victims each and every year, yet this film didn't quite grasp that. The film is detached, not in a Michael Haneke way, but in a most tiresome unmoving manner, treading its way down the sunny slopes of Greece at a snail's pace, although it wants to mislead us into believing that what we're dealing here with is a thriller. The acting was so awful that I thought they had some b-series/ sitcom/ soap opera actors memorize some lines and deliver them in a very flat voice. As for the love making scene between the Albanian would-be hunk and the would-be steamy Greek woman (huh, forbidden love), I deem it less sexy than an Orthodox monastery dormitory. And despite the camera that was all-go (hand-held, because it's easier and cheaper than to use camera grip equipment), the story was so all-stand-still that I couldn't take it. Maybe some Western Europeans could find interesting this wanna be larger-than-life drama set in present day Greece, where the bad guy comes from Albania, living up to his stereotyped status, and the people on the bus are so afraid of him that they're a couple of beers short of joining him into a dance, accompanied by live guitar. You know, like we'd do in elementary school, till the driver'd shoot us off.

ted-129 Giannaris contributes one to the "hostage" film genre. I completely disagree with the other views expressed thus far, in that I found the film quite paced and engaging and his use of Stathis Papadopoulos as intuitively right. Describing him as "extremely buffed" is a bit hyperbolic. Stathis is no Arnold (thankfully) and can convey emotions missing from most action heroes/antiheroes--e.g., uncertainty, fear, and a childlike vulnerability next to the women who briefly mother him in the course of the film. Here's an inarticulate character who can't fully think things through, is in over his head, and yet desperate enough to make a last futile stand to be counted.And like all hostage films, it's not just about the captor but the captives. Kudos to the rest of the cast for their very believable performances that dynamically reveal their personal stories in the course of the journey and their changes in perspective on their collective situation and its significance. As one character says to the morally ambiguous cop-negotiator trying to get some of them released, "It's all of us or none of us." Kudos also to the cinematography that conveyed the overheated claustrophobia of a long bus ride that spans day and night and builds to its visual payoff in the climactic final moments.