Boulevard is available in: Spanish Brazilian Portuguese English on Netflix Brazil


Nolan Mack, a soft-spoken bank employee, undoubtedly loves his wife Joy, though their cavernous empty house only underscores how disconnected they’ve always been from each other. Nolan finds himself drifting from his familiar present-day life in pursuit of lost time after meeting a troubled young man named Leo on his drive home. What begins as an aimless drive down an unfamiliar street turns into a life-altering series of events.

> A mighty actor in a light role, accomplish it like usual.

Ian McKellen would have been a convenient actor to lead in this as it was a very close to his real life. You might have heard this is a Robin Williams last movie. One final amazing character display where the whole movie was about his part, but nothing else. A decent storyline, but a simple, low cost drama about homosexual.

The exposition of the tale was very brief, but took its time to evolve in the entire 90 minutes. Still clarifications like regarding his wife, their marriage and the end scene can not be proved its meaning. Though we can assume them in many angles. I think those were the major setback for this film, otherwise it could have been a better one.

I would have loved it if the emotions were stronger. Because the film characters and their relationship constructions were absorbing. So the only missing piece was the sentimental appeal. But Robin Williams’ sudden dismissal and the time of this movie is coming out is what heartbreaks, especially the sort of role he appeared in it. I am positive that if you like him very much, then you must see it.

Source TMDb

2015-08-13 : Liz Braun
Boulevard itself moves toward an obvious conclusion with no surprises along the way; it runs out of steam after about an hour.
2015-08-13 : Peter Howell
While it’s all too clear that Nolan is unhappy – he also has an ailing dad to care for – the thoughts inside his head remain stubbornly opaque.
2015-08-06 : Kerry Lengel
This is certainly a believable story, but it’s one we’ve seen before, and neither screenwriter Douglas Soesbe nor director Dito Montiel has found a way to elevate it into something that challenges or inspires.

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