A script with terminal shortcomings – wincingly winsome, ferally fey – is negotiated by brave actors picking their way through the minefield.
My Blueberry Nights (2008)
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Reviews Counted:115
Fresh:56
Rotten:59
Average Rating:5.5/10
Consensus: Though well filmed, My Blueberry Nights is a mixed bag of dedicated performers working with thin material.
Theatrical Release:22-02-2008
Synopsis: With his first English-language film, beloved Hong Kong director Wong Kar-wai's touch loses none of the seductive luster and magic that made his Chinese films so popular. MY BLUEBERRY NIGHTS... With his first English-language film, beloved Hong Kong director Wong Kar-wai's touch loses none of the seductive luster and magic that made his Chinese films so popular. MY BLUEBERRY NIGHTS follows the fortunes of Elizabeth (Norah Jones), who after having been left by her boyfriend, sets out across America to find herself and recover. She makes a stop in Memphis, where she pulls double-duty at a diner by day and a bar at night, and watches the disintegration of another pair of troubled lovers (David Strathairn and Rachel Weisz). She moves on to Nevada where she befriends a vivacious card player and smalltime hustler (a delightfully saucy Natalie Portman) who challenges her notions of contentment. However, it is New York City and the arms of an English café owner (Jude Law) for which Elizabeth's heart truly longs and ultimately returns. While MY BLUEBERRY NIGHTS isn't Wong's best film--as it suffers from some clunky, heavy-handed dialogue and some frustratingly broad performances--it still contains all of the hallmarks of his aesthetic, and is therefore hard not to fall for. The film is undeniably beautiful, and features the director's trademark visual sense: shimmering neons, lush chiaroscuro, and swirling slow-motion images. It makes for a seductive view of America, one populated by swaggering, yet deeply melancholic drifters that listen to Otis Redding and Ruth Brown, drink too much, and love even more. The sadness and tears that emerge from America's taverns in the wee hours are as breathtakingly alluring as its natural landscapes. In Wong's hands, everything is cast in the light of joy-life and death, suffering and happiness-and the same goes for his understanding of America. Whether this America ever existed is wholly irrelevant; for when you watch a Wong movie, you happily enter his country, wherever that may be. [More]
Starring: Norah Jones, Jude Law, David Strathairn, Natalie Portman
Starring: Norah Jones, Jude Law, David Strathairn, Natalie Portman, Rachel Weisz
Director: Wong Kar-Wai
Director: Wong Kar-Wai
Screenwriter: Wong Kar-Wai, Lawrence Block
Story: Wong Kar-Wai
Producer: Wong Kar-Wai, Jacky Pang Yee Wah
Composer: Ry Cooder
Studio: Weinstein Company
Reviews for My Blueberry Nights
Narratives and places are secondary to the dreamy, bitter-sweet tone Wong is so keen to evoke, and with which, like a scent one might spray on too liberally, he saturates every scene.
An awful banality invades; principally in the conversations between restaurant manager Law and his lovelorn customer, played by the singer Norah Jones. Law struggles to bring his nice-guy northerner to life.
Away from home, Wong is on far-from-vintage form. But he still speaks the seductive language of longing with tactile tenderness, and draws out a natural performance from Jones. Worth a look, if not quite one to fall for.
Wong Kar Wei brings a first-timer's vision of America - the lurid neons and flashing subway trains are beautifully captured - but any emotional heart, largely thanks to Lawrence Block's dull script - remains resolutely unexplored.
Stunning photography and Wong's formidable directing abilities cannot salvage this emotionally empty exercise in style.
Far from a disaster, but it does feel like a footnote. It’s difficult to see why the great director and very talented performers worked so hard to deliver such thin material.
Wong Kar Wai's English language debut is gorgeously shot, but it's let down by a tedious script, paper-thin characters and some dodgy performances.
For all its delicious moments, though, you can't help feeling there are a couple of ingredients missing from this frustratingly insubstantial confection.
Wong Kar Wai's American debut is as gorgeously filmed as you'd expect, but it's also surprisingly mopey and downbeat for a story about love.
Visually his film looks stunning on a giant festival screen, but the links between characters and stories require large leaps of faith.
The too-neat screenplay doesn't allow for nearly as much improvisation as Wong's earlier Hong Kong reveries, but this impressionistic canvas is still profoundly sensuous and floridly vulnerable
Three years after 2046, Wong Kar-wai is not in love any more--and I for one am happy for him.
That's another thing about Wong: even when you're not quite sure what he's trying to say, or if he actually has anything to say, you get your money back in the beauty with which he says it.
El director de Con ánimo de amar y 2046 se traslada con éxito a Estados Unidos, donde filma una historia de amor sugestiva, íntima y encantadora.
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