[Norah Jones] is a blank presence -- she can't give the film the heart or soul it needs.
My Blueberry Nights (2008)
Tomatometer
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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
Saccharine, cliched, groaningly predictable and -- in short -- utterly abysmal.
Wong Kar Wai's visual style with its evocative mood is the mainstay of this lament to love, although its rambling narrative detracts from the film as a whole.
As visually lush and distinctive and enveloping as you would expect from a Wong Kar-wai film, with space for performances that have impact.
What the film ends up feeling like is someone else's clumsy attempt to imitate Kar-Wai's style while missing out on his obsessive perfection and emotional depth.
My Blueberry Nights proves Norah Jones isn't ready for a movie career quite yet.
It's not Kar-Wai's best work, but cast Tony Leung and Maggie Cheung in the leads, toss in subtitles and some of the same dissenters may be calling it his latest masterpiece.
The story had promise but it ends up being half baked by a director who wants to show off that he went to film school.
My Blueberry Nights plays much like a dream; different vignettes fade into each other ... [but] nothing ever quite adds up.
Wong's Hong Kong efforts are steeped in romanticism, but here, something clearly got lost in translation.
My Blueberry Nights at any length doesn't begin to answer the question why Jones, who seems nice in a bland, girl next door way, would ever be tapped to star in a movie.
It's essentially a gloriously romantic film made by a very romantic filmmaker who can see beauty where none supposedly exists.
The ensemble drama has some modest charms, which includes a surprising, old-fashioned sweetness and interpretation of romance.
... dreamy, woozy, elliptical and gorgeously infused with orange-red light and smeary Matisse blues. It's visually beautiful and its open-ended narrative is loose and suggestive
It's sweet and mostly satisfying, like a silky dessert at the end of a relaxed meal.
(Norah) Jones doesn't merely hold her own in a pouty screen debut of note; she looks comfortable and purrs with the confidence of someone who belongs.
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