Karry Best movie of this year hands down!

Wordiezett So much average

Ensofter Overrated and overhyped

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

nvehlyn For a movie about female breasts, "Free the Nipple" has two major flaws: The first problem is that there is simply not enough screen time devoted to the Titular subject. I'd estimate that bare breasts are shown in less than half the screen time of this movie--a poor showing indeed. I've seen dozens of movies in which bare breasts are featured in 90 to 95 percent of the total running time. That's really the range you want to be shooting for to give female breasts the exposure they deserve. The second and more significant problem lies in the quality of female breasts cast in the film. There were a handful of worthy performances, but the majority of them were simply not up snuff. *Lina Esco's breasts turn in an excellent performance: round and perky, with just enough heft to bounce, but not enough to sag. *The second lead, Lola Kirke's breasts may have been technically larger as measured by cup size, but when viewed against her overlarge torso, they failed to produce the hour-glass shape necessary to please male viewers, who, in all fairness, likely make up at least half of the film's audience. *Pound-per-pound, Casey LaBow's breasts (full and symmetrical) give what is arguably the strongest performance in the film, but they are sadly underutilized. I can only recall three or four scenes in which they were featured, for a total screen time well under five minutes. Despite pretenses of progressive politics, this independent film hides and marginalizes African American breasts in the shameful tradition of mainstream Hollywood. Monique Coleman plays a substantial supporting role, but her breasts remain inexplicably hidden throughout the film, and undoubtedly would have added some much needed flavor to the mix. Two of the films' strongest portrayals come from an outstanding pair of African American breasts in the film's final montage sequence, but once again, their screen time is utterly brief and deserving of much broader coverage. This final scene does feature at least 20 different pairs of breasts in rapid succession, but the majority of these performances fall flat. Many are of the "pancake" or "banana" variety, and some even suffer from the unforgivable "lazy eye" syndrome. Perhaps most disturbing is the discriminatory casting the filmmakers seem to have practiced against breasts that have been augmented by surgical implants, which by all accounts make for the most satisfying and cinematic mammaries possible.

Billy Lee Harman Netflix, because of its proscription against "obscenity," rejected this review. Louis Armstrong, after learning to blow his horn among drug addicts and prostitutes, pointed out that what's wrong with our wonderful world is only what we're doing to it. "Nobody has to guess that baby can't be blessed, 'til she sees finally that she's like all the rest, with her fog, her amphetamines, and her pearls," sang Bob Dylan of some of what others of us blow into our wind. This movie points out that none of that, and none of the hypocrisy of the media or other musicians, produces the terror of war or other killing while "humanity" calls the most basic means of nurturing us humans obscene. Let's get real. HITRT

joe The people exclaiming this was somehow about more than just the right to have bare breasts in public - where exactly was that in the plot? You, like the movie, are romanticizing and over thinking very petty things.I think it's a great cause - women should definitely be allowed to walk around topless in any state of this nation. However, to say that they were somehow pushing for some grander agenda that went as far as being called a revolution? Come on. Their agenda didn't even register as a microscopic piece of dust on the radar of "revolution".There wasn't much of a plot to this story, other than "let's get super insanely cool looking shots, mostly in slow-mo, of us girls looking insanely cool and counter-culture like", to that end, they did that in spades, and is the only reason I gave this film one more star than 1.There is a tiny love story between the two protagonists, which never exactly reaches an arc, and is just forgotten about by the end of the film - there were too many shots of women looking empowered and cool in slow motion to be had, I guess.The whole film is just a self indulgent "look how cool/edgy I am" montage, with barely any kind of a story behind it. Three of the main characters you sort of connect with, and the rest are almost non-existent.The funniest part about the whole story, is that they never even achieved any of their goals, but the ending ends like they indeed created some sort of cultural revolution. No, you just wasted a bunch of money that was invested in you, by spray painting and stickering public property. No legislation was changed, no social movement started to gain momentum. If I had invested money in those girls, I would be pretty angry - just like whoever invested money in this worthless film.

Ruth Stein This film is an extremely refreshing break from the tired and endless stream of recycled action flicks, and CGI cartoons. This movie actually stands for something, and isn't afraid to stick to its guns and get a little weird along the path to making its point. The underdog, guerrilla tactics storyline is inspiring, and makes one ponder their own personal abilities to start a revolutionary equality movement. I found this unique first foray into directing by Lina Esco to be incredibly entertaining, and inspiring. I thought Esco, Kirke, and Grenier give the strongest performances, carrying the conflict and message of the film, Blake Newman provides the comedic relief, and everybody else nicely fills out the rest.Overall, this is an easy 10/10 for managing all at once to be original, powerful, fun, and thought-provoking.