AniInterview Sorry, this movie sucks

SpunkySelfTwitter It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Twilightfa Watch something else. There are very few redeeming qualities to this film.

ivan_dmitriev A 6/10 only because of the color work, however the rest of it has visually aged - overlong pointless shots, overly insistent blaring "sad" music, blacking out of the screen - supposed to represent the emotional state, however when you have a unemotional dummy of the caliber of Binoche, who could win a contest for the female equivalent of "best show of emotions" since Steven Segal and Keanu Reeves, then not even blacking out of the screen can save you.Overal - an unreal imaginary story - seriously - giving away your house to your husband's mistress just because she has a child, in France - sorry, but french people are accountants and engineers - they would kill themselves before they give so much as a pence to a person who has, especially by the tacit French morality, no claim whatsoever on that money - set in unreal imaginary France ,going as far as to swim out of lanes in a public pool - we get it, Mr. Director, Julie is a "rebel" who arranges her own life, in the face of nonexistent social opposition to her rearranging the said life, who refuses convention, by being conventionally rebelious, but NO swimming pool in Paris will allow you to swim like that - you'll get ejected and banned for life.Also in immediately selling and throwing away all the deceased's possessions she, and thus the director, is following the convention of "healthy grieving"- that is the absence of grieving of the 90ies to the tee. So much for the rebeliousness!Second - I have an issue with Julie being sad because her husband died - that is no mention of her (presumably) child, while hers being a clearly dysfunctional family clearly on the road to divorce. In the end - it's just not believable and there is nobody (except "the whore", and as an aside - thanks social development that we, at least in most of the developed world, moved away from prying into people's private lives to the point of actually causing them harm in their public lives), who has any, ANY appeal in this story.If you like the pretence of style over Substance of Camus' "Stranger" you will like that movie, or if you like an unintentional comedic jumpscare horror with 2 creepface men and 1 resting assface woman as a protagonist - this movie is for you, for the rest - avoid and watch modern American drama.Sadly in this movie I feel I can see the beginning of the fall of the European cinema from making movies close to life, to being just another socialist Soviet Union cinema which exists solely because it's funded by the government and the "cultivated" class through lobbying.

naysbaghai I don't think I can emphasise how much I adore world cinema, an innocent pleasure vindicated by the 1993 French film Three Colours: Blue. Starring Juliette Binoche, the film treats us to a dreamy snapshot into human remembrance and existence, forcing us to meditate on our own experiences of life. The intelligence and reverie that Three Colours: Blue exhibits should convince anyone how world cinema, dare I say it, is superior to most of the films produced by Hollywood these days.Although I hate the fact that years of English and Drama studies have hardwired my brain to view everything as symbolically as possible, I will admit that the emblems and symbols presented in the film are simply astounding. What is particularly enticing is director Krzysztof Kieślowski's ability to utilise symbols in not only objects and locations, but in film techniques as well. The smooth tripod movements and natural lighting emphasise our stability as observers of Julie's story. I don't intend to bore you with the multitude of symbols in this film, but I will mention perhaps one of the most memorable scenes in the film. As Julie swims through the ghostly blue waters of the pool, her introspection brings her to one of the core messages of the film - no matter how hard we try to suppress bad memories, we are inevitably confronted and challenged by our past.Now, allow me to examine the story without a gratuitous analysis of symbolism that could make me sound all too posh. I think the film has a strong opening that is laden with mystery and coldness that conveys how we are both observers and participants of the narrative. Julie's journey throughout Paris brought me back a feast of memories, ranging from the solitude within cafés, to inhaling the sights and sounds of Parisan streets, and ascending through the labyrinthine staircases of apartments. I should also mention that the relationship between the story and soundtrack cleverly represents the various psychological states of Julie, with the lonely piano phrases emphasising her isolation, while the pan-flute of the busker symbolises the mystery surrounding life. Although I applaud the filmmakers' exploration of issues such as solitude and suicide, the biggest let-down for me was the fact that the film had a slow pace despite its 94 minute runtime. However, if you consider yourself to be a patient movie goer, this shouldn't be an issue for you. Despite this small crack in the armour, I was impressed with the cerebral, poetic and misty experience of watching Three Colours: Blue, and I found it to be a good film to end the week with.

Lee Eisenberg "Trois couleurs: Bleu" ("Blue" in English) was the first entry in Krzysztof Kieślowski's Three Colors trilogy. Named after the colors on France's flag, the trilogy focuses on stories involving France's national motto: Liberty, Equality, Fraternity. Kieślowski said that "Blue" looks at emotional, rather than political, freedom, as Juliette Binoche's widow Julie is no longer bound by family life but can't fully escape her past. This continuing connection is embodied in the lamp of blue beads, and in the footage of bungee jumping (in which the cords become more apparent as the movie progresses, symbolizing evidence of a link to the past). Most importantly, there is the music: much like how music consists not of a single note but of harmony with other notes, Julie cannot stay isolated from the rest of the world. Thus it's an anti-tragedy: Julie's attempt to erase her past call into question whether love and freedom can coexist.This is the first Kieślowski movie that I've seen, and I'm really impressed. His use of scenery and colors to tell the story mirrors Stanley Kubrick's style of filmmaking. Juliette Binoche won both a Golden Globe and a César for her performance, as well as an award at the Venice Film Festival (all well deserved). As for the director, I hope to see the other entries in Kieślowski's Three Colors trilogy, as well as his other works. It's too bad that he retired after finishing the trilogy and then died of a heart attack.

gavin6942 A woman (Juliette Binoche) struggles to find a way to live her life after the death of her husband and child.Nothing against the plot, but this is a visual film. As with the other two films in the trilogy, the color of the title features prominently in the color scheme. Here, unlike "White", the blues (and greens) jump out everywhere without being overwhelming. The elements are intense, but well-used.Does it compare to "Red"? Based on what everyone seems to think, it does not. But everyone should make up their own minds -- watch all three.