Very very predictable, including the post credit scene !!!

A lot of fun.

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Having read the screenplay on Project Greenlight, I was keen to see how it turned out. It was true to the script, which is what one would hope when the director is also the writer, but there were scenes which could have been deleted without diminishing the impact of the film. When I read the script, I got the feeling of a comic-book story and there's nothing wrong with this--gritty, tough, seamy underside of a big city. Somehow the film didn't quite carry this across and seemed to be trying to add more credibility to what could be just a good, slightly-clichéd action flick. One thing that I thought was that it was shot on video. Some of the scenes definitely lacked the sharp crispness of film and I was surprised to see the Kodak logo in the end credits. I was also surprised that they could shoot it on film and keep it in the AUD1M budget. Shooting on video could have actually added a grainy dimension which would suit this film noir genre. The choice of music was as good as it gets.

This is a pretty cool Aussie crime flick in the style of Two Hands, Chopper, Dirty DEeds, Getting Square, etc. More serious and less comedic than some of those films but with a style of it's own.The actors are all very good as is the directing and the camera-work. Morgan O Neill the director spoke after the screens and shared some interesting tit bits about the production of the film.... it cost only one million and a bit to make and was shot in only 21 days. COlin Friels is especially good as the main character who is a hit-man.All in all well worth watching especially if your a fan of movies like lock stock or Pulp fiction.

Morgan O' Neill's Solo is the first Australian film produced under the Project Greenlight banner, where a first time writer/ director was provided with $1 million dollars to get their film made. Working with a total budget that probably wouldn't cover the catering bill on a big summer blockbuster, O'Neill has crafted a gritty urban thriller, set deep within Sydney's criminal underworld. Colin Friels' Jack Barrett has built a life making people disappear for the criminal kingpins, but has finally reached a decision to go straight. Certainly, it's a cliché, but clichés become cliché's for a reason, because they work. When a young university honours student (Bojana Novakovic) starts digging a little too deep with her research on underworld crime, Barrett is ordered to "terminate her research career permanently". The film then tracks the relationship between the two, the hit-man and his mark. O'Neill has crafted a tight script where the twists are surprising, but always believable. Friels' opening monologue is a particularly wonderful piece of dialogue and serves to hook the viewer from the start. The performances are generally good, with Linal Haft and Angie Milliken particularly strong. Some artistic decisions let the film down somewhat. An appalling wardrobe choice sees Friel's Barrett in flashback, dressed in fright wig and terrible moustache. Rather than evoking the mid 70s as it's supposed to, you could be forgiven for mistaking him for an extra from a Comedy Inc sketch. Such costuming effectively removes much of the power such scenes should (and could) have contained. That said, Solo is an excellent low budget film, but importantly it is also an impressive film in its own right. O'Neill has gone a way to proving what logic keeps telling film lovers: It's not how much money is thrown at a film that makes it watchable, but the more intrinsic elements of script, plot and performance.

Despite the excitement I had watching the build up to this movie on FOXTEL after seeing Morgan O'Neill win the project greenlight Australia competition, even my expectations were surpassed. O'Neill has crafted an authentic Australian crime movie that fulfills its promise to entertain.We are introduced to Barrett in the movie, sublimely played by Colin Friels, and I would challenge any viewer to feel a pathos for this heartless dealer in death. However O'Neill achieves what every director aims for: to make us care for the characters he has created. To be perfectly honest I thoroughly enjoyed all the performances and thought the casting was top notch.The camera work also deserves a mention as there are some wonderful lighting effects . The jazz soundtrack is sensual and matches the side of Sydney O'Neill is exhibiting. There is also some Australian hip-hop in a scene set in Sydney's seedy King's Cross whose only criticism I have is that it isn't long enough.As a Sydney-sider this is the first time since watching "Two Hands" that I have felt a movie has captured the texture of one of the world's great cities.Another special mention must go to Vince Colossimo whose performance I thoroughly enjoyed and I felt to be the best of the movie, perhaps this is down to the fact that I like seeing this type of a character in the movie.O'Neill has also mastered the use of Australian humor in his work as the lines feel natural to the characters and reminded me of the Lock, Stock type of delivery. Kudos O'Neill, Kudos