Incannerax What a waste of my time!!!

MoPoshy Absolutely brilliant

Keira Brennan The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Derry Herrera Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

CountZero313 A high school dropout who crashes funerals is on the verge of getting his comeuppance when he is rescued in a meet-cute by a quirky female who tells him she works in a cancer ward for kids. In fact, she herself is a patient, and the two youngsters bond during the last three months of her life.The films' triumphs are it largely avoids sentimentality, achieving a bittersweet, elegiac tone, though mostly (perhaps deliberately) falls short of pathos.Those triumphs are lightly scattered through however, in a sea of boring or bizarre moments that fail to gel into any meaningful whole. Enoch (Henry Hooper) lost his parents in an automobile accident that left him in a coma for three months. This means he missed his parents funeral, which he still fumes about. He blames his aunt for holding the funeral when he couldn't attend. I am not sure if the writer intends Enoch to come across as an ignorant brat here - you rail against the woman who cooks and cleans for you because she did not hold up a funeral indefinitely to see if you lived or died? Enoch's dullard credentials are further established when he states, having 'died' for three minutes after the accident, that there is nothing after death - despite the very clear evidence of him having a ghost for a best friend. He ludicrously takes a sledgehammer to his parents' gravestone, but never thinks once to ask his friend from the afterlife to help him contact his parents. He's quirky, he's marginalised, and totally implausible.Unfortunately, Annabel (Mia Wasikowka in a tonally flawless performance) falls for him, and has to put up with playing catalyst in Enoch's redemptive narrative, despite the fact that her tale is more interesting and more of a challenge. An implied jealousy with her sister is only lightly touched upon, and a hard-drinking mother is shown but the problems that would inevitably throw up are regrettably not explored.I suspect the families of young cancer victims might not welcome this depiction. Annabel skates, runs in the forest, and has sharp eyes and a fabulous complexion - all the while dying of cancer. Pacific War veterans - on both sides - might also have a few issues with Hiroshi (Ryo Kase giving it a decent go), the kamikaze ghost. Quite what this character's function is remains problematic. There is no disputing he is meant to be real - the shot flow makes it definitive, having him stand outside Annabel's house to witness her physical demise. (Slight tangent, but why does a ghost that no one can see feel the need to stand outside and peek in the window? He could stand naked on the kitchen table for all it matters). At times his comments seem to encourage Enoch to recognise the ephemeral nature of life and live it to the full. At other times, he seems strangely ambivalent about his kamikaze role - is his relish for playing 'battleships' meant to be ironic? He is pedantic about labelling hara-kiri properly as 'seppuku', but he is happy to be called kamikaze when tokkotai is more accurate. When he changes clothes, finally, he dresses like the Emperor Hirohtio in the infamous photo with Macarthur. What, intertextually, is going on here? As much as the three young leads are easy on the eye and know their acting chops, the characterisation is vapid and hardly explored, and the pronouncements on life, death and the meaning of the universe are bitty and contradictory. For the last thirty minutes, I was literally struggling to stay awake.It reminded me of Shunji Iwaia's 'Vampyr' - lots of healthy-looking young people moping about pontificating about death, inside lovely pictures, adding up to pretty much nothing.

JeffersonCody The type of film my good friend the Professor calls a "necromance". A touching, but never sentimental little love story produced by, among others, Ron Howard and his daughter Bryce Dallas Howard, "Restless" is beautifully costumed, designed and photographed (Harris Savides), and gently, expertly steered by Gus Van Sant. Set in Portland - which feels like a character in this film. Nice score by Danny Elfman too.Love and loss loom large in the story of Enoch Brae (Henry - son of Dennis - Hopper), a lonely teenager haunted not only by the death of his parents in a car crash, but also that they were buried while he was in a coma. So he never had closure. He lives with Mabel (Jane Adams: his bedraggled but caring Aunt who bemoans the fact that Enoch calls him Mabel rather than Auntie) and no longer attends school after being expelled for beating up someone who dissed his deceased parents. So he spends his days attending the funerals of strangers and chatting with his imaginary friend Hiroshi (Ryo Kase) - the ghost of a WWII Kamikaze pilot.One day he meets a beautiful, free spirited young girl named Annabel Cotton (Mia Wasikowska) at a funeral. She loves birds and the great outdoors, the two become friends and fall in love while sharing their secrets. Annebel, however, is dying of cancer and has only a few short months to live."Restless" probably won't work for everyone, but it charmed and moved me and it it is still floating gently around in my head a week after watching it. Jane Adams' straggly hairstyle is worth the price of admission alone, and the marvelous Mia Wasikowska (whose wonderful offbeat outfits are a credit to Oscar nominated costume designer Danny Glicker) is terrific as Annabel. Ms Wasikowska is rapidly becoming one of my favorite young actresses.Ron Howard is one of the most successful mainstream directors in America and the lovely Bryce Dallas Howard is, after appearing with distinction in "Hereafter", " 50/50" and the box office hits "The Help" and "The Twilight Saga: Eclipse" - a successful young actress on the cusp of major stardom, yet they find the time to make a small, relatively low budget ($8 million) non commercial film like this happen. Kudos to them.

Iris Hall The movie in itself is an often viewed topic, but as they say... it doesn't matter that we had have seen the same topic over and over again, it's about how it is done. In my opinion the main characters were equally important and that gives a great balance. The soundtrack is beautiful and those scenes with little details are just perfect, although I didn't feel an authentic pain in the film and that excessive positivism made me mad almost the entire movie. The conflicts were pretty simple and the reactions were too complicated for the conflict. It's a good movie, above the average because it has those pretty details and that carefree puberty that is what is missing in other movies dealing with this topic and -Contradicting my first point of view- that excess if positive attitude made that those pretty details authentic and jovial.In my humble opinion.

The Backseat Director I don't know about you, but as great as Dennis Hopper was, I was never able to love him. He was so mean and frightening – all those horrid things he put poor Keanu and Sandra through on that bus, the sacrifices that Jack had to make to get him in 24 and that frankly frightful tongue in Super Mario Bros. But, finally, from his loins, comes something I can love – wee little Henry.He seems to be carved from the finest tree in the Gus Van Sant forest of indie-actors, whilst having a face perfect enough for the inevitable actor-cum-model turn for the odd glossy magazine.Death, cancer and all that stuff is hard enough to deal with when you're an adult, but when you're abandoned by your parents to make sense of this world and all its harshness, there's really only one place to go and that's off the rails. Finding yet more death in his imaginary friend and his new girlfriend, young Enoch is just a little bit dark and kooky.And talking of his girlfriend, is there nothing that Mia Wasikowska isn't in these days. Six months ago it was Amy Ryan who seemed to be in every movie in the cinema, film on iTunes and series on TV; but for the past couple of months Mia has been everywhere. I just caught, and fell in love with, her in In Treatment; and here, well she continued to win me over.I love a film about grief – and this one is beautiful, cute, and has that little Romeo and Juliet vibe. And a little note to the film's stylist – loving your work.