Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Beulah Bram A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Melissa Mendelson The trials of our lives define us, but it could also break us apart. Moments in time are forever frozen, and our darkest hours never fade. And we could surrender, wander lost, but life would go on without us. And we would disappear, but if we fight to survive, overcome the hardest memories that wait to be confronted, we will find ourselves once again. And love would come and steal our heart, heal our pain, and close the door on a life no longer lived. And we could start over, a clean slate, and we become more defined. And it is inspiration that flows through powerful stories such as Angel Eyes that touches the fabric of our very lives.

zardoz-13 "Angel Eyes" differs from the usual mindless summer film fare. Audiences under age 30 may classify this brooding, lethargic, romantic mystery with Jennifer Lopez and Jim Caviezel as downbeat, impersonal, and tiresome. Neither "Message in a Bottle" director Luis Mandoki and "Sharkey's Machine" scenarist Gerald DiPego cater to neatly tying up all the loose narrative threads at fade-out nor pander to erratic attention-deficit style editing to ingratiate audiences with their lachrymose cops & lovers yarn. Instead, every scene in "Angel Eyes" portrays life as an experience where people sometimes cannot resolve conflicts. Mandoki and DiPego dole out plot details like bread crumbs to string us along, and this piecemeal strategy maintained my attention."Angel Eyes" will either intrigue you or will infuriate you entirely with the way they draw out the inevitable. They give their characters room enough to develop, and a gifted, first-class cast exploits every opportunity. Admirably, much of this provocative, above-average, but uneven 'chick flick' springs from the characters and their reactions to the obstacles thwarting their desires. Unwisely, Mandoki and DiPego rely on some plot contrivances that undercut credibility but deepen dramatic impact."Angel Eyes" opens in Chicago at the scene of a tragic traffic accident. Windy City cop Sharon Pogue (Jennifer Lopez of "Maid in Manhattan") comforts an accident victim until the paramedics arrive. Mandoki and DiPego create an intriguing aura of mystery early on in the story, because the victim remains anonymous. Cleverly but effectively, they capture the action from the perspective of the injured passenger. A year elapses, and the main plot gradually begins to unfold. "Angel Eyes" depicts Sharon Pogue as a tough, resourceful, fearless police woman who can handle anything that the criminal element can dish out. She tackles one big hoodlum, body slams the dastard against the hood of her police cruiser, and the cuffs and stuffs him. Later, at the precinct house, the thug gives her lip and grabs her. Pogue roughs him up without a second thought, only to have her partner Robby (Terrence Howard of "Iron Man") reprimand her. "Don't bust my balls," Pogue complains irritably as if she were a guy.Indeed, shunning her glamorous pop diva persona, Lopez delivers a persuasive, rock-solid performance as a dedicated but lonely, insomniac cop with a woebegone past who prefers the graveyard shift. Basically, Sharon jailed her abusive father Carl (Victor Argo of "The Yards") ten years ago for beating up her mother Josephine (Brazilian actress Sonia Braga of "The Rookie"), and bad blood has existed ever since between them. Essentially, her father disowned her after his arrest. Surprisingly, her mother invites her to attend a ceremony where they plan to renew their marriage vows. Sharon's working class brother Larry (Jeremy Sisto of "The Suicide Kings") isn't overjoyed about seeing his hard-nosed sister. Eventually, Larry batters his own wife Kathy (Monet Mazur of "Mystery Men") in a fit of rage. Arriving at the scene, Sharon slugs Larry in the mouth in front of her own brothers-in-blue! The cops refuse to arrest Sharon when Larry cries police brutality.Later, Sharon is hanging out with fellow cops at a diner when black gunmen in a car wheel up and unload a fusillade of bullet at them. The fleeing gangstas wreck their car, and the cops chase them. Sharon pursues a lone gunman, and the suspect ambushes her. Shooting her twice in the chest, he takes aim at her face when a mysterious stranger intervenes. This unshaven Samaritan knocks the assailant off Sharon and saves her life! When Sharon recovers, she learns that her dark-haired hero in a trench coat calls himself Catch (Jim Caviezel of "Frequency") and just happened to be across the street when the gunfight erupted. An awkward relationship blossoms from their chance encounter. Catch behaves as if he were suffering from amnesia. Despite Sharon's attempts to draw him out in conversation, he refuses to talk about himself. Aimlessly, he wanders the streets at night and performs good deeds at random. For example, Catch spots a car with its headlamps burning. Opening the door, he reaches inside to switch them off. Just as he does, the angry owner accuses him of stealing. Catch decks himself out in a wardrobe like the Nicholas Cage character from director Brad Silverling's "City of Angels," but he is a flesh-and-blood entity, not an angel.Eventually, Sharon and Catch date. At a state park on a picnic, they frolick in the lake, then get intimate on the beach. Unlike most citizens who ask Sharon how many people she has shot in the line of duty, Catch praises her for her unselfish sacrifices. Their oddball but believable relationship endures its share of ups and down like most real relationships. Specifically, Sharon comes clean about herself with Catch, but he retreats into silence or anger about himself as if he were playing hard to get."Angel Eyes" rarely strays from the issues at hand. This character driven drama deals with sudden death, dysfunctional families, and spousal abuse, but it offers no facile answers. Like Mandoki's earlier effort "Message in a Bottle," "Angel Eyes" shows that life gives those a second chance at love that wants to take it. Like his even earlier movie "When a Man Loves a Woman," "Angel Eyes" shows that some of life's problems lay beyond our reach to resolve them. Wow, how many movies seize life by the horns anymore? The romance between Sharon and Catch has depth with occasional interludes of comedy. Lopez and Caviezel share a chemistry that makes their affair seem not only credible but also interesting, too. They don't behave like brainless, sugar-coated, naive lovers. Pop tunes don't blare on the soundtrack while the principals ride around in product placement sports convertibles. Indeed, "Angel Eyes" takes itself seriously and gets away with this sober attitude more often than not. Only when the coincidences seem really contrived, such as when Catch jumps Sharon's assailant, does "Angel Eyes" blink.

PWNYCNY Once again, Jennifer Lopez proves that she is a wonderful actress. Ms. Lopez truly the star of the movie. Also, the story itself is good and there is a strong performance by Jim Caveziel. This movie explores some very sensitive subjects ... death, loneliness, grief ... as well as renewal, restoration and redemption. At times the movie borders on sentimentality but manages to avoid that pitfall as Ms. Lopez's fine performance transcends any weaknesses contained in the script and transforms this movie into something special. A man experiences devastating personal loss, a woman has unrequited anger, both are alone yet both overcome their personal issues to come together and move forward in their lives. When managed correctly and respectfully, these themes are the ingredients that make for a good movie and in this case it works.

nick_elliston Saw this for the first time on a minor TV channel recently. Essentially a romantic film, and casting JL as a police officer may indicate that this is a police thriller, which it is not.It is fairly apparent at an early stage what Jim Cavaziel's past hides, and JL coming to terms with her past is the more complex aspect of the film.I can only recall seeing Jim Cavaziel in one other film (Thin Red Line) and his performance and character here is reminiscent of his character in TRL.Jennifer Lopez gives a fine performance. I have not seen her in many films, but she generally puts in a good performance. I think it is her choice of films which is suspect rather than her acting.I am not a fan of romantic films, but this one is different enough to make it worth watching.