‘Monday’ Movie Review: A provocative rom-com transforms into a dramatization of terrible conduct that is more ostentatious than persuading

Few films can reveal the life coach trying to get the character to stand up and fly properly. Is it just because they misbehaved? Not exactly. Bad behavior is half the film. No, if a film calls for internal training of your coach, it is because someone has something so dishonest on screen that it is no longer clear whether he or she needs intervention.

For a while, “Monday” gave off the bubbling feeling: 

That this was precisely what indie-romantic comedy was: floating and honest, full of sexuality on broken borders, with two seductive free spirits at its center. At a disco party in Athens, Chloe (Denise Goff), a drunken American visitor, breaks up on a cell phone.

They both escape into the night, and the next thing they or we know is to wake up naked on the beach while the Greek morning sun shines off their bodies. It was a cold night. But we also see that it was love in the beginning. Mickey is an incredible childish charm who travels through life, the sort of casual villain who takes pride in being an absolute lover (and until he wakes up).

As Chloe said to him when she left him on the motorbike. “Thank you for not being a bastard.” He’s about to return to the US, looking a little raccoon-eyed after a night of debauchery. But he convinces her to spend her last two or two days in Greece with him. This means more parties, more dancing, and more vibes – and more opportunities for him to show how good he is when he improvises half-fashioned outfits. For him by cutting off his trouser legs.

Mickey has lived in Greece for seven years and only DJs: 

It hangs out with his crazy wealthy friend at animal parties, Argyris (George Pirpasopoulos). But Sebastian Stan, relaxing from the MCU during one of his breaks, makes him a soul of compassion. Chloe is an immigration attorney, and Denise Goff arrested him. He was a straight arrow who drank too much, hungry for exciting pleasures like Mickey’s, but not relatively as carefree. She runs into complications and treats what happens as a throw until the film removes thousands of rum comas, her naked man-chasing a girl at the airport. Only here it happens for half an hour in the film. And then they live.

Happy? We know it can’t be that easy because there are no films. It was a symbol of Chloe and Mickey’s renewed commitment that she told her to load the van with her awkward-looking modernist designer sofa, and it was also a sign of that commitment when she saw him set it on fire. At the same time, they had another disco party in the square in front of her apartment. On “Monday,” love for anything goes out of control. When the two try to throw a romantic party for a drink. However, the real problem is director Argis Papadimitropoulos burdens the screen with red flags once they are put together.

Like the fact that Mickey has a six-year-old son who he claims is in a relationship:

However, as the film increasingly incorporates Mickey’s moments of instability, brief vigilance. And for all his elegant charm, the selfishness he wears as a lousy suit. Chloe blends in with everything for increasingly tricky reasons. “Monday,” taken with a large part of the Greek crew, was taken with a certain amount of live talent. Both actors had moments when they joined forces. The party scene where Chloe’s elegantly successful friends meet Mickey. Who supports the cast of “My Big Fat Greek Frat House,” creates a funny spark.