Ernest Carpenter-Baggins "Cosi" is not a comedy. It has funny moments, amusing moments, wry moments, and even one or two belly-laughs, but it is not a comedy. Just ask the pigs - and there is one of the pointers to the fact that this movie is not about being funny.This is a film about being human, and the limitations of being human; most of all, it is about transcending those limitations. The fact that the focus is on the distressed and distressing inhabitants of a nut-house (I'm not much of one for being politically correct) is to emphasize that there is no human being who is incapable of transcending their handicaps.There is romance, and awkwardness; misunderstandings abound. This film about an opera staged by the incapable is itself grand opera. Viewers, however, who are too attached to their personal world-view and their personal values, and therefore are unwilling to have their assumptions challenged, will find one or another part of this film uncomfortable. I guess that's why, overall, it doesn't seem to rate so highly. For my part, I gave it a 9/10.

tizzi22 I have been a Toni Collette fan since I saw Muriel's Wedding while traveling in France in 1996. I have watched her work as she grew as an actress and became more popular with a mainstream audience. I caught sight of this film in a store in Asia on clearance and took it home. It's a little frustrating at times and is should hardly be classed as a comedy since the humor does not make up the majority of the film and at times is very sad. It tries to cover too many subplots at a time so that it doesn't give you any satisfying insight into any of the characters, but it comes together well at the end. I myself was wondering how they would manage to put on Cosi Fan Tutti. The real gem in this movie, however, is Toni Collette. She's a diamond sparkling in a muddy river bed. She's subtle and her role is not significantly big, but she fills it well. It's a nice look at her sophomore efforts and the part that really amazed me was her voice. She has an amazing voice and sings the cover of "Don't Dream It's Over" that serves as the movie's theme. Toni Collette doesn't have a stellar part in this movie, but it's her acting that makes it more pleasant. All in all, the movie is cute and the ending will make you smile, but Toni Collette is definitely the one who deserves the limelight for this one.

Filmtribute The basic premise of staging Mozart's comic opera `Cosi Fan Tutte' in a mental institution would seem like a recipe for disaster, but here it is also used as an opportunity to lightly explore some aspects of the human condition. An inexperienced but aspirational, if not exactly talented, director (Lewis) is given the task of putting on a variety show for the hospital's aloof administrator (Tony Llewellyn-Jones; Picnic at Hanging Rock), his like-wise ‘caring' colleagues (excepting Colin Friels as the compassionate Errol) and the minister for health. Ben Mendelsohn (The Year My Voice Broke) in his mainly low-key performance as Lewis is a superb foil to the rest of the manic protagonists. An overwrought Barry Otto (Strictly Ballroom & Lilian's Story) is Roy with his rather grandiose visions who commandeers this project and coerces Lewis into rebelling against his directive, to stage the opera instead. Mark Joffe's Australian bawdy and riotous romp is played unashamedly for laughs, very much in the style of `Strictly Ballroom' and `Adventures of Priscilla, Queen of the Desert', rather than `One Flew Over the Cuckoos Nest', the benchmark for films of psychiatric patients finding themselves, lacking its depths of pathos and tragedy.In fact all the various psychoses are portrayed for their potential humour and the extremeness of the asylum residents' conditions are somehow subdued, presumably by medication, to enable them to work together. The `clients' backgrounds are sketchily drawn and we are not allowed to dwell for too long on how damaged so many people become by the behaviour of others towards them. An offensive pyromaniac (David Wenham) tells us how he tortured cats and in a rare serious moment, suicidally depressed Ruth (Pamela Rabe; Sirens) is seen toying with slashing her wrists (we are told the difference between the cry for help and the sure-fire method), but the film swiftly diverts our attention. The central issue of the opera regarding double standards by men towards women's fidelity is touched upon, but not developed satisfyingly, with the examination of Lewis' own relationship and his attraction to the talented member of his cast, Julie, a recovering junkie. Meanwhile Lewis' parasitic `mate', Nick (Aden Young), his ill-advised inspiration as a director, is seen to be a pretentious buffoon with half-baked theories such as `the crucial key is to find out what sort of animal the actor is', and unsuccessfully tries to make a cuckold of him. This production is graced by the talents of two rising Hollywood stars both from Muriel's Wedding: Rachel Griffiths (Hilary and Jackie) as Lewis' girlfriend Lucy; and a reincarnated slender siren Toni Collette as Julie (who played the plump maiden Harriet Smith in the 1996 version of Jane Austen's `Emma', as well as the more dramatically challenging role of the younger Lilian in `Lilian's Story'). Her singing voice is also a revelation when she saves the show from complete collapse with her rendition of `Stand By Me', and covers the closing credits with Neil Finn's `Don't Dream It's Over'. Jacki Weaver (Picnic at Hanging Rock & Caddie) as Cherry, who has an unwelcome crush on Lewis, crosses the line from bubbly blonde to be so scarily aggressive that one wonders if she ever succeeded with her apparent nymphomania, and she also provides the vocals for some of the film's songs. Ellery Ryan's efficient cinematography can currently be seen on the small screen in the UK in the entertaining Australian adult soap `The Secret Life of Us'.Despite any reservations there might be about the suitability of the subject matter for comedy the actors eventually infuse their characters with some warmth and optimism. I found myself laughing almost inspite of myself due to the quality of the performances and some stagy comic moments that were plain silly and at times ridiculously over the top but still involuntarily forced me to smile. For instance, as things on the stage go increasingly wrong Roy and Lewis are electrocuted, Cherry is hoisted on a hook and flies over the audience's heads like some grotesque banshee, whilst Zac (Colin Hay), the off-the-wall musical accompanist, is abruptly halted in his obsessive desire to play Wagner's `Ride of the Valkyries' on an accordion, when he falls through a trap door. Some members of the cast from `Babe' also seem to have inadvertently wandered onto the wrong set, as piglets surreally crop up in various scenes. Even the disturbing comment on the automatic heavy sedation of a struggling patient (in this case the hapless Lewis mistaken for the escaped pyromaniac) is given a comic turn. Other reviewers have suggested that Louis Nowra's original stage play was more spontaneous and uproariously funny but this version, for which he wrote the screenplay, still worked for me. Balance in life is always needed and in our intolerant world where the ephemeral nature of life was brought harshly home to us all with last week's atrocities in the USA, this was a welcome tonic.If you are able to ignore the implausibility of it all, and to see a group of socially challenged individuals overcoming some of their problems to step out of themselves, if only for a brief moment on the stage, then you may still find your spirit uplifted and enjoy this as I did.I obtained a VHS (PAL) copy from The Video Shift as this is no longer available from the ScreenSound Shop.

ruhmin8 I agree with most of the reviews already posted, but would like to add that I found the characterizations to be what endeared me most to this production. I'm a recent explorer of opera and have seen movie versions of some of them. This can stand toe to toe with any movie version of an opera in terms of its ability to reach gut level. I cried when the house lights went down and the curtain up as the six on stage were transformed into something bigger than themselves and so participated in the healing mystery that mankind has been experiencing since the first dramatizations and plays were enacted.