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user\nAny screen adaptation of a John Grisham story deserves a mainstream Hollywood approach, and Robert Altman is about the last director I would go to for a mainstream take on anything. But this southern-fried pot-boiler is pretty good. While it's not among Altman's best, it certainly isn't among the films he's made that leave you scratching your head and wondering what he was thinking.
Altman had tipped his hat to the mystery thriller with noir overtones before, in his 1973 film \"The Long Goodbye.\" \"The Gingerbread Man\" is nowhere near as good as that film, but it holds up fairly well on its own. Kenneth Branagh is a cocky attorney who finds himself framed for murder after he gets involved with a client (Embeth Davidtz) who has enlisted his help in protecting her from her cuckoo father (Robert Duvall). The film is set in Savannah, Georgia during the approach of a tropical storm, which lends the film an oppressive atmosphere that I very much liked. The twists and turns toward the film's end become clunkier and clunkier, and Altman proves himself to be not all that adept at staging shootouts, but overall the film is not a bad addition to Altman's canon.
Also starring Robert Downey, Jr., Daryl Hannah, Tom Berenger and Famke Janssen.
Grade: B
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user\nA lawyer is drawn into a deadly game of cat and mouse when he becomes involved with a femme fatale in this adaptation of a Grisham novel. Altman creates a suspenseful, Gothic atmosphere but the script is weak. Sporting a Southern drawl, Branagh is convincing as the lawyer, and Davidtz is alluring as the object of his desire. Downey is likable as a private detective. Duvall has a small role, which does not allow him to do much with his weird character. Hannah and Berenger round out the impressive cast. After an interesting setup, the film bogs down and does not really deliver on its initial promise, but Altman is always worth a look.
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user\nI found myself at sixes and sevens while watching this one. Altman's touch with zooms in and out were there, and I expected those devices to comment on characters and situations. Unfortunately, as far as I could see, they sometimes were gratuitous, sometimes witty, often barren for failing to point out some ironic or other connection. In particular, two zoom-outs from the gilt dome in savannah merely perplexed. To be fair, though, a few zooms (outs and ins) to Branagh heightened his character's increasing bewilderment, a la Pudgy McCabe's or Philip Marlow's. On the whole, the zooms were, well, inconsistent, and sometimes even trite.
Other Almanesque devices, such as multiple panes of glass between camera and subject, succeeded in suggesting characters' sollipsism or narcissism or opaque states of knowledge. Car windshields, house windows, and other screens were used effectively and fairly consistently, I felt, harking back to THE PLAYER and even THE LONG GOODBYE. A few catchy jump-cuts, especially to a suggestive tv commercial, reminded me of such usage in SHORT CUTS, to sardonic effect.
But finally, the mismatch between Altman's very personal style and the sheer weight of the Grisham-genre momentum, failed to excite me. This director's 1970s masterpieces revised and deconstructed various classic genres, including the chandler detective film which this resembled in some ways; this time around, the director seemed to have too few arrows in his analytic quiver to strike any meaningful blow to the soft underbelly of this beastly genre. Was he muzzled in by mammonist producers, perhaps? Or am I missing something, due to my feeble knowledge of the genre he takes on here?
Nonetheless, the casting was excellent all around: Tom Berenger (for his terrifying ferality), Branagh for his (deflated) hubris, Robert Downey Jr's pheromonal haze, Robert Duvall's method of trash, and Davidtz's lurking femme-fatality were near perfect choices all. And except for a few slips out of Georgia into Chicago on the part of (brunette?) Daryl Hannah, accents were convincingly southern.
Suspense and mood were engrossing, even if the story didn't quite rivet viewers. The moodiness of a coastal pre-hurricane barometric plunge was exquisitely, painstakingly rendered--I felt like yelling at the usher to turn on the swamp cooler pronto.
Torn, in the end I judged it a 7.

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user\nThe biggest surprise in this movie was the performance of Daryl Hannah. Rather than playing the stereotypical ditzy blonde roles that she usually does she plays a street-smart, intelligent, world-weary character. She doesn't have a huge role but she does a great job portraying Lois Harlan as a woman tired of, although used to, covering up for her boss' indiscretions.
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user\nI don't understand the low 5.7 rating on this film. It's a delight for people who like a strong suspense plot and dark atmospherics. The tone is reminiscent of Midnight in the Garden of Good and Evil, down to the locale (Savannah). The acting is strong, and I was amazed at the verisimilitude of Kenneth Branagh's southern accent. Famke Jansen is great, Robert Duval is effective in a small part, and Embeth Davitz is the BOMB. Great full nude scene of her,too.
The plot is fairly standard but effectively executed.
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user\nGenerally, it's difficult to rate these cut-&-paste films. Some of the segments can be quite good while others bring down the rating of the overall product. In this one, for instance, the all-girl scene in the Doctor's office was quite exciting...one of the best in this viewer's (limited) viewing history. Then there's Asia's segment... the lady is always entertaining. And the story that binds the whole together was an interesting concept. The swap scene that closes out the offering ain't bad either. Technically, the production values are fairly high. Recommended.
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user\nOk, so it's an adult movie. But it really is very tastefully done. It's obvious that the producers spent a lot of time and money into making a classy sort of movie. I was pleasantly surprised at just how good it was. Even the acting was fairly decent. The plot was more solid than most adult films I've seen. The camera work was above average. It's just a good flick!!
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user\nThe Dinner Party could quite possibly be in my opinion the greatest adult cinema production of all time. It is produced in such an exquisite manner and the actors portray their roles excellently. The kitchen scene starring Yvonne and Juli Ashton is magnificent. The use of the butter and milk really makes the scene. Additionally, the doctor's office scene is well done. The campfire scene is filled with enjoyable action, though the choice of actors in this scene is questionable. Asia Carrera's performance in the junkyard scene is incredible, but who would expect anything less from her. The closing scene is somewhat over used in adult films, but is classic none the less. I would highly recommend this film to all fans of adult films and those casual viewers. Run out to your video store and pick it up today.
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user\nCameron Grant is one of the best directors doing adult films. His only rival is Andrew Blake. Celeste is dynamite all thru the movie but the DR's office sequence with her & two other ladies is just incredible. Nearly as good is Asia Carrera's performance with the construction worker. I highly recommend this movie & gave it a 9. It's almost as good as Cameron Grant's ELEMENTS OF DESIRE which I gave a 10.
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user\n\"Who Loves The Sun\" works its way through some prickly subject matter with enough wit and grace to keep the story not only engaging, but often hilarious. It's been a while since I've found such a thoroughly touching, thoroughly enjoyable film.
The film is gorgeous, drawing the eye with beautiful scenery and tranquil landscapes. The peaceful imagery contrasts wonderfully with the tension between the very human, very flawed, and yet very likable characters. Due to the excellent cast all five of the major players are wonderfully interesting and dynamic.
I recommend \"Who Loves The Sun.\" It's a really funny movie that takes a poignant look at the hurts that we can inflict on each other, and the amazingly difficult but equally rewarding process of forgiveness.
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user\nI had no idea what this movie was until I read about it in the L.A. Weekly. I generally agree with the reviews in the LA Weekly and decided to get a ticket for this film. the film stars molly parker (from my favorite television show Deadwood) and Lukas haas -- who I suspect we will be seeing more of in the very near future. The film is funny, heartwarming, features great acting, and beautiful photography. i don't know if the film has distribution, but I hope it does - or will - soon. this is destined to be a real indie gem. it even has music by my favorite band the silver jews! the only disappointment was that molly parker wasn't there at the screening. even without her there... this was hands down the best film i saw at the festival.
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user\nI caught this movie on the Sundance Channel on cable one late afternoon. You might say \"Who Loves the Sun\" is a perfect leisurely pastime of a story, why ever not. You get to hang out with the trio: Lukas Haas is Will (returning after abruptly leaving everyone years ago), Molly Parker is Maggie (we learn she's very much part of the family Bloom), and Adam Scott is Daniel (is he friend or foe or fiancé), by the scenic Falcon Lake, Manitoba, Canada, captured in graphic compositions juxtaposed in vivid summer colors against sunshine and shadows. And supporting the trio are two more family members in the revealing mix: Wendy Crewson is Mom Mary Bloom, and R.H. Thomson is Dad Arthur Bloom. Writer-director Matt Bissonnette has delivered an ingenious unfolding of story-line and its various tentacle links - worry not, Haas may have a 'listless' face, but humor will come as Parker and Scott enter the circle of friends reunited, wry smiles will break and knowing delights stir. Dialogs may be terse or even nil, yet we'd get the flavor of what's cooking, bemused or wondering.
Yes, \"Who Loves the Sun\" can very well be categorized as a sleeper gem. The chemistry between all five principals sure gels and 'combusts', giving an energetic ensemble performance. After all, it's all in the family, and the film sure doesn't take itself too seriously.
Looks like the official site is still available at \"wholovesthesun.com\" and there are information on the soundtrack by Mac McCaughan (Portastatic with guitar tunes and strings) where score excerpts are being played, and behind the scenes production notes, interview with writer-director-producer Bissonnette on how the movie and concept came about, the casting and more. Have always appreciate Molly Parker since her spare yet mesmerizing performance in 1996 Lynne Stopkewich's 'Kissed', and she's married to Bissonnette, who \"wrote the Maggie part for Molly.\"
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user\nAlthough I live in Minnesota, I have been studying in France lately and came across this bizarre gem of a film.
This movie was amazing, to say the least. A creative and unique film, the different directors each lent something different to their interpretation of love in the City of Light. The first instinct is to attempt to fit each one of these little stories into an overall storyline, much as can be done with 2003's Love Actually. This attempt, however, renders the magic of each individual segment obsolete. When taken at face value, with each of the short segments taken as its own individual film, the love stories together tell a beautiful message.
The film is strikingly bizarre at times -- often to the point of confusion -- and each individual segment can be hard to follow. Still, to a watcher who pays close attention to each of the segments, the short plot lines become clear after a short time. The confusion is almost intriguing; it keeps you on the edge of your seat waiting for what will come next. It leaves the viewer wondering \"Did that really just happen?\" yet also leaves them satisfied that it did, indeed, occur. It's the kind of movie where the viewer, upon leaving the theater, can't actually decide whether they loved it or they hated it. The initial reaction is to go and watch it again and again, just to see these individual lives blend together into a cinematic masterpiece.
The interesting decision to make the movie multilingual adds something to the spectrum of people who can relate. It adds to the reality of the film -- here, the American tourists speak English, the Parisians French, and so on. The number of people that the film encompasses leads to an understanding of the international language of love.
From sickness to the supernatural, the love of parents to the love of husbands, this film covers all the bases of romantic storytelling. In its beautiful and quirky way, each unique event somehow falls into place to tell a story: that of all types, sizes, nationalities, and shapes of love.
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user\nWasn't sure what to expect from this movie considering its amazing collection of stars and directors but in the end it didn't disappoint.
For me one of the highlights was the final episode with the American tourist speaking with a dreadful French accent (which made me feel better about mine) which was actually quite touching and a great way to wrap up the movie.
The story of the paramedic and the stabbing victim was also very moving and for pure comedy the Coen Brothers and Steve Buscemi take the award. The Tom Tykwer clip was also impressive although rather ambitious in its scope.
However, the Bob Hoskins segment was totally cringeworthy and the vampire story was completely farcical. The dialogue in Wes Craven's section also felt very forced and the Chinatown story was completely incomprehensible.
On the whole this film is worth watching for the good bits and has a strong finish. It's not too painful to sit through the bad sections - they only last 5 minutes anyway.
Ca vaut la peine!!!
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user\nI watched this movie a couple of days ago in a small independent cinema in Paris. It was my last evening in the French capital and the best good-bye I could have chosen. These twenty episodes made me relive the impressions I had collected in Paris in a heart-warming manner without drifting off into kitsch or sentimental schmaltz. Each episode is full of surprise, strong emotions and suggestive pictures and each short-film is directed according to the rules of a good short story. To me this kind of movie demands a lot more talent and qualities of a director and a story board writer than any epic two hours drama and all of them succeeded in their task excellently! The stories were chosen carefully with regard to their matching Arrondissement and express the respective flair perfectly. Each episode was seen from a different ankle, had a different topic, a different style and still the twenty stories result in a harmonic orchestra of films. The most outstanding advantage with the concept of an episode movie in my opinion is based in the fact that you can switch in between a large variety of feelings and moods without the danger of overload, just the other way round: the melange of sadness, melancholy, pure joy, despair, wrath, anxiety, curiosity or passion gives this movie a unique freshness and harmony. And not to forget the all over topic of love! Love between the characters, love between the characters and Paris and also the love of the directors and actors/actresses for this project. I don't want to go into the details of the episodes since there are so many, but I must highlight the range of world famous actors and actresses from all over the world and their approach to this project. Some played with their image, some broke it completely and some interpreted the stereotypes connected with their home country or the roles they had played before, so intertextuality was given all through the movie. All in all I can absolutely recommend this great collage and will be looking forward to its release on DVD.
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user\nThe whole does not even come close to the sum of the parts. No problem. This film features a line-up of some of the most diversely creative directors of our time and some really famous names in the cast. The segments are devised around the same theme, \"Love in Paris\", but the resemblance ends there. Actually, considering that the approach to the theme from all these different directors takes so many forms, it is amazing that we can even feel we are still watching the same film. No great effort has been made to turn it into a comprehensive whole. This buffet has so many great ingredients, I am glad nobody tried to put them all in a single dish.
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user\nRudyard Kipling once wrote that God gave to all people the ability to love the whole world, but given that a human heart is very small in size, every human has that special place that he loves more than any other. It seems to me that this may have been the motto of some of the most eminent directors of today when they set out to profess the eternal love for that special place and depict situations in the lives of its denizens and visitors. The result is a wonderful collection of short films, Paris je t'aime, in which our guides, Van Sant, Coixet, Cuaron, Payne and others take us on a breathtaking stroll through Parisian arrondissements, human feelings, yearnings and expectations.
Always some other quarter, always some utterly moving story about ordinary people in search for love, be it in a parking lot, art studio, tube station. And Paris je t'aime is about vast array of loves- love for one's partner, child, parent, for those who meant the world to us but are no longer around, love that needs rekindling, serendipitous love for that stranger as your eyes meet, or love that just is not meant to be...today, but tomorrow- who knows?
Nevertheless, this film is not solely about love, but life itself, joy, pain, loneliness, confusion, everyday ups and downs. And its most important quality is the fact that it is not soppy at all, but rather warm and full of hope.
I give this film a 9 because the final section of it suggests how some of the stories might further develop, but not all of them and that is the thing that I find missing, and by \"further development\" I do not mean some specific reference to the characters' future. As far as everything else is concerned I can only say- captivating. Makes you want to leave everything behind you, flee to Paris and live those little romances yourself.
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user\nJust saw this tonight at a seminar on digital projection (shot on 35mm, and first feature film fully scanned in 6k mastered in 4k, and projected with 2k projector at ETC/USC theater in Hwd)..so much for tech stuff. 18 directors (including Alexander Payne, Wes Cravens, Joel and Ethan Coen, Gus Van Sant, Walter Salles and Gerard Depardieu, among several good French/ international directors) were each given 5 minutes to make a love story. They come in all shapes and forms, with known actors(Elijah Wood, Natalie Portman, Steve Buscemi ..totally hilarious..., Maggie Glyllenhall, Nick Nolte, Geena Rowlands ..soo good..and she actually wrote the piece she was in, Msr Depardieu and many good international actors as well. The stories vary from all out romance to quirky comedy to Alex Payne's touching study of a woman discovering herself to Van Sant and one of those things that happens anywhere..maybe? Nothing really off putting by having French spoken in most sequences (with English subtitles) and a small amount of actual English spoken, though that will probably relegate it to art houses (a la Diva.) Also only one piece that might be considered \"experimental\" but colorful and funny as well, the rest simple studies of sometimes complex relationships. All easy to follow (unless the \"experimental\" one irritates your desire for a formulaic story. Several brought up some emotions for me...I admit I am affected by love in cinema...when it is presented in something other than sentimentality. I even laughed at a mime piece, like no other I have seen (thank you for that!) The film hit its peak, for me, somewhere around a little more than half way through, then the last two sequences picked up again. Some beautiful shots of Paris at night, lush romantic kind of music, usually used to good effect, not just schmaltz for \"emotions\" in sound, generally good cinematography, though some shots seemed soft focus when it couldn't have meant to have been (main character in shot/scene). Pacing of each film was good, and overall structure, though a bit long (they left out two of what was to be 20 films, but said all would be on the DVD) seemed to vary between tones of the films to keep a good balance. Not sure when it comes out, but a good study of how to make a 5 min film work..and sometimes, what doesn't work (if it covers too much time, emotionally, for a short film.) Should be in region one when released, but they didn't know when.
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user\nDelightful film directed by some of the best directors in the industry today. The film is also casting some of the great actors of our time, not just from France but from everywhere.
My favorite segments:
14th arrondissement: Carol (Margo Martindale), from Denver, comes to Paris to learn French and also to make a sense of her life.
Montmartre: there was probably not a better way to start this movie than with this segment on romantic Paris.
Loin du 16ème: an image of Paris that we are better aware of since the riots in the Cités. Ana (Catalina Sandino Moreno) spends more time taking care of somebody else's kid (she's a nanny) than of her own.
Quartier Latin: so much fun to see Gérard Depardieu as the \"tenancier de bar\" with Gena Rowlands and Ben Gazzara discussing their divorce.
Tour Eiffel: don't tell me you didn't like those mimes!
Tuileries: such a treat to see Steve Buscemi as the tourist who's making high-contact (a no- no) with a girl in the Metro.
Parc Monceau: Nick Nolte is great. Ludivine Sagnier also.
I've spend 3 days in Paris in 2004 and this movie makes me want to go back!
Seen in Barcelona (another great city), at the Verdi, on March 18th, 2007.
84/100 (***)
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user\nGreetings again from the darkness. 18 directors of 18 seemingly unrelated vignettes about love in the city of lights. A very unusual format that takes a couple of segments to adjust to as a viewer. We are so accustomed to character development over a 2 hour movie, it is a bit disarming for that to occur in an 8 minute segment.
The idea is 18 love/relationship stories in 18 different neighborhoods of this magnificent city. Of course, some stand up better than others and some go for comedy, while others focus on dramatic emotion. Some very known directors are involved, including: The Coen Brothers, Wes Craven, Alfonso Cuaron, Alexander Payne, Gus Van Sant and Gurinda Chadha. Many familiar faces make appearances as well: Steve Buscemi, Barbet Schroeder, Catalina Sandino Moreno, Ben Gazzara, Gena Rowlands, Gerard Depardieu, Juliette Binoche, Willem Dafoe, Nick Nolte, Maggie Gyllenhaal and Bob Hoskins.
One of the best segments involves a mime, and then another mime and the nerdy, yet happy young son of the two mimes. Also playing key roles are a red trench coat, cancer, divorce, sexual fantasy, the death of a child and many other topics. Don't miss Alexander Payne (director of \"Sideways\") as Oscar Wilde.
The diversity of the segments make this interesting to watch, but as a film, it cannot be termed great. Still it is very watchable and a nice change of pace for the frequent movie goer.
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user\nDiane and I saw this fabulous film today in Fremantle and we both agreed that of the pastiche movies it was head and shoulders above the rest. I say that because we were entranced by the brief, five to ten minute segments that composed the film and the fact that this film had a theme around which each piece was composed and of course that theme was love in its many forms.
Ostensibly the film took place in the various Parisian arrondisments thus giving a particular flavour to each segment. Having only been in Paris several times, I was not knowledgeable enough to readily recognize the locations but I am sure Europeans and particularly French people could easily recognize the city's locations. In any event, the viewer is immediately pulled into each story because of their production excellence so these city locations fade into in-consequence.
The film moves quickly and the viewer is left absorbing one scenario while the new one is on the screen. The stories themselves are not graphic like some pulp Hollywood nonsense, they are subtle and thought provoking and gentle as with most of life without the media swath that buries so much of life's beauty under the nearest dung heap just to sell, sell. sell ...
Go with someone you care for and allow this magical little film to bathe you like a spa treatment and when you leave my guess is you will feel renewed.
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user\nIt's just such a joy to have watched this intriguing project. So refreshing and educating. Not only to a filmmaker, who can learn what can be achieved in 5 minutes of screen time, but also as audience, who may not be so ready for so much love in such short time.
20 short films about love in Paris are all unique, but some of them, as expected, stand out. I thought the Tom Tykwer (Natalie Portman) segment was the best, although the mimes made me smile inside just the same.
I clicked on \"spoilers\" option for this review bus alas...what you read is a spoiler enough. Just watch it. Don't read what I write, but watch the movie instead.
And smile.
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user\n18 directors had the same task: tell stories of love set in Paris. Naturally, some of them turned out better than others, but the whole mosaic is pretty charming - besides, wouldn't it be boring if all of them had the same vision of love? Here's how I rank the segments (that might change on a second viewing):
1. \"Quartier Latin\", by Gérard Depardieu
One of the greatest French actors ever directed my favourite segment, featuring the always stunning Gena Rowlands and Ben Gazzara. Witty and delightful.
2. \"Tour Eiffel\", by Sylvain Chomet
Cute, visually stunning (thanks to the director of \"The Triplets of Belleville\") story of a little boy whose parents are mimes;
3. \"Tuileries\", by Ethan and Joel Coen
The Coen Brothers + Steve Buscemi = Hilarious
4. \"Parc Monceau\", by Alfonso Cuarón (\"Y Tu Mamá También\", \"Children of Men\"), feat. Nick Nolte and Ludivine Sagnier (funny);
5. \"Place des Fêtes\", by Oliver Schmitz, feat. Seydou Boro and Aissa Maiga (touching);
6. \"14th Arrondissement\", Alexander Payne's (\"Election\", \"About Schmidt\") wonderful look for the pathetic side of life is present here, feat. the underrated character actress Margo Martindale (Hilary Swank's mother in \"Million Dollar Baby\") as a lonely, middle-aged American woman on vacation;
7. \"Faubourg Saint-Denis\", Tom Tykwer's (\"Run Lola Run\") frantic style works in the story of a young actress (Natalie Portman) and a blind guy (Melchior Beslon) who fall in love;
8. \"Père-Lachaise\", by Wes Craven, feat. Emily Mortimer and Rufus Sewell (plus a curious cameo by Alexander Payne as...Oscar Wilde!);
9. \"Loin du 16ème\", by Walter Salles and Daniela Thomas (simple but moving story from the talented Brazilian directors, feat. Catalina Sandino Moreno);
10. \"Quartier des Enfants Rouges\", by Olivier Assayas (\"Clean\"), a sad story feat. the always fantastic Maggie Gyllenhaal;
11. \"Le Marais\", by Gus Van Sant, feat. Gaspard Ulliel, Elias McConnell and Marianne Faithful (simple, but funny);
12. \"Quartier de la Madeleine\", by Vincenzo Natali, feat. Elijah Wood and Olga Kurylenko;
13. \"Quais de Seine\", by Gurinder Chadha;
14. \"Place des Victoires\", by Nobuhiro Suwa, feat. Juliette Binoche and Willem Dafoe;
15. \"Bastille\", by Isabel Coixet (fabulous director of the underrated \"My Life Without Me\"), feat. Miranda Richardson, Sergio Castellitto, Javier Cámara and Leonor Watling;
16. \"Pigalle\", by Richard LaGravenese, feat. Bob Hoskins and Fanny Ardant;
17. \"Montmartre\", by and with Bruno Podalydès;
18. \"Porte de Choisy\", by Christopher Doyle, with Barbet Schroeder (mostly known as the director of \"Barfly\", \"Reversal of Fortune\" and \"Single White Female\").
I could classify some segments as brilliant and others as average (or even slightly boring), but not a single of them is plain bad. On the whole, I give \"Paris, Je t'Aime\" an 8.5/10 and recommend it for what it is: a lovely mosaic about love and other things in between.
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user\nParis Je T ' aime is a movie that explores the different kinds and aspects of love and all the emotions that it provokes. This movie reunites some of the best directors from around the world such as Gus Van Sant, Joel and Ethan Coen , Walter Salles a...(read more)nd Alfonso Cuaron to tell short stories about love located in Paris, each one with their particular way of directing. In this film we also have one of the best cast ever seen in a movie including such great actors like Willem Dafoe, Steve Buscemi, Natalie Portman, Elijah Wood, Gerard Depardieu and many more each one with great performances. In conclusion, this movie is a compilation of stories of happiness, separation, unexpected encounters and love.
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user\nParis, je t'aime (2006) is a film made up of 18 segments. You can do the math--18 segments in 120 minutes means each director had seven minutes to tell her or his story. The movie is based on the premise that you can, indeed, tell a story in that short amount of time. The premise works. Almost all of the segments are powerful, complete, and satisfying. Each presents a different aspect of the Parisian experience, and almost every director draws forth outstanding performances from a cast of great and near-great actors.
There were so many powerful portrayals in this film that it's hard to pick one or two favorites. Probably the most memorable to me were Juliette Binoche as a grieving mother in the segment \"Place des Victoires,\" Gena Rowlands as an aging beauty in \"Quartier Latin,\" Catalina Sandino Moreno as a maid in the segment \"Loin du 16ème\" and Margo Martindale as a Colorado mail carrier who has learned to speak French so she can visit Paris (\"14ème Arrondissement\" segment).
Special mention must be given to Gulliver Hecq, probably the meanest little boy to ever harass an American tourist in a Parisian Metro Station (segment \"Tuileries\").
This is an outstanding movie. My wife and I decided to rent it in a few months so we can catch some of the subtle points we surely missed. However, Paris is photographed so beautifully that I would suggest that you try to see it on a large screen. In any case, don't miss it!
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user\nI just viewed the film two days ago, and I was filled with anticipation, being that Paris is my second favorite city in Europe and I spent a very romantic 18 months there in the '80's. I was somewhat disappointed that most of this group of vignettes, while original and artistically done, did not capture the \"light\" and beauty of the city very well.Nor enough of the romance! We saw none of the tree-lined boulevards... There was too much darkness, not only literally but figuratively. Some of the plots manipulated the viewer it seemed, and let him/her down \"flat \"(the Marais sequence, the coiffure salesman sequence, to give two examples). The uplifting, good ones: The Mime sequence, the cemetery, the Montmartre (though it left too much to the viewer to comprehend), the \"Cowboy\" vignette ,and the Sacre Coeur-- seemed few and far between, and I would have liked to have seen such a wonderful actor as Orlando Bloom be in something that would have showcased his originality more.
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user\nit's a very nice movie and i would definitely recommend it to everyone. but there are 2 minus points: - the level of the stories has a large spectrum. some of the scenes are very great and some are just boring. - a lot of stories are not self-contained (if you compare to f.e. coffee and cigarettes, where each story has a point, a message, a punchline or however you wanna call it) but well, most stories are really good, some are great and overall it's one of the best movies this year for sure!
annoying, that i have to fill 10 lines at minimum, i haven't got more to say and i don't want to start analyzing the single sequences...
well, i think that's it!
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user\nThankfully saw this on a plane to Singapore recently (thought I'd missed it at the Cinemalaya filmfest). Paris, je t'aime is a collection of 20 short films (about 5 mins each) by 20 directors showing love in various pockets of contemporary Paris.
One of my fave segments is 'Parc Monceau' by Alfonso Cuarn (Great Expectations, Harry Potter and the Prisoner of Azkaban), which was done in one continuous shot and features Nick Nolte.
The Coen brothers' 'Tuileries' starring Steve Buscemi as a tourist in the metro was hilarious ! Juliette Binoche and Willem Dafoe in 'Place des Victoires' was haunting.
For Maggie Gyllenhaal as an American actress/druggie in 'Quartier des Enfants Rouges' to have portrayed anticipation and heartbreak in such a short period of time was just brilliant.
Elijah Wood as a vampire victim in 'Quartier de la Madeleine' was pretty surreal, while Emily Mortimer and Rufus Sewell played a cute couple in Wes Craven's 'Pre-Lachaise'.
Natalie Portman was beautiful as usual as the actress girlfriend of a visually impaired French boy in 'Faubourg Saint-Denis'. But despite the many portrayals of young love, a more mature execution by Gena Rowlands in 'Quartier Latin' was equally aww-inducing.
This movie is perfect for those with ADHD because each sequence is driven and carefully thought of.
There are also a number of memorable quotes. One in particular is this one from a cheating husband who eventually leaves his mistress to stay with his dying wife in her last days: \"In pretending to be a man in love, he became a man in love.\"
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user\nParis, JE T'AIME is a wondrous cinematic homage to the city of light and the city of love, a film so complex that it almost defies summarization and reviewing. Ask a large group of people their impressions of life in Paris and the result would be something akin to this film. Tied together by each of the sectors or Arrondissement of the city, the film examines love in all forms, native folk in their Parisian modes, and tourists interacting with the great city. Approximately twenty writers and directors, each with about five minutes of screen time, include Olivier Assayas, the Coen Brothers, Sylvain Chomet, Isabel Coixet, Wes Craven, ALfonso Cuarón, Gérard Depardieu, Christopher Doyle, Vincenzo Natali, Alexander Payne, Walter Salles, Nobuhiro Suwa, and Gus Van Sant among others less well known. The stories vary from hilarious, to humorous, to touching, to tragic, to banal, to tender.
In one story a young Frenchman (Gaspard Ulliel) is attracted to a young lithographer (Elias McConnell), pouring out his heart in French to a lad who speaks only English. In another a separated husband and wife (Gena Rowlands and Ben Gazzara) meet in the Latin Quarter to finalize divorce proceedings while another couple in Père-Lachaise (Emily Mortimer and Rufus Sewell) approach marriage without connection until the spirit of departed Oscar Wilde intervenes. Steve Buscemi in Tuileries confronts superstition in a subway with his bag of tourist collections, in Bastille Sergio Castellitto (in love with mistress Leonor Watling) is ready to divorce his wife Miranda Richardson until she confides she has terminal leukemia, Juliette Binouche confronts agony about her son's fantasies and loss in Place des Victoires with the help of a mythical cowboy Willem Defoe, Sara Martins and Nick Nolte and Ludivine Sagnier display a keen tale of mistaken ideas in Parc Monceau, Fanny Ardant and Bob Hoskins 'play out' a strange relationship in Pigalle, Melchior Beslon plays a young blind man to actress Natalie Portman in learning how to see in Faubourg Saint-Denis, vampire love between Elijah Wood and Olga Kurylenko in Quartier de la Madeleine, Maggie Gyllenhaal is an ex-patriot actress stung out on drugs in Quartier des Enfants Rouges, and Margo Martindale is a visiting tourist letter carrier trying desperately to speak the French she has studied for her life's trip in a tenderly hilarious 14ème Arrondissement.
The final few minutes of the film tries to tie together as many of the stories as feasible, but this only works on superficial levels. The film is long and there are no bridges between the many stories, a factor that can tire the audience due to lack of time to assimilate all of the action. But it is in the end a richly detailed homage to a great city and supplies the viewer with many vignettes to re-visit like a scrapbook of a time in Paris. It is a film worth seeing multiple times! Grady Harp
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user\nA mock documentary about a pair of Canadian producers, Bobby Myers (Matthew Modine) and Paul Linder (Saul Rubinek), trying to make their first film in the late 1970s. Hollywood North is the comic tale of their struggle to pull everything together, despite a number of conflicting threads.
Hollywood North works as a film in a way very similar to why This Is Spinal Tap (1984) works so well. Namely, although exaggerated in some ways, it is very close to the truth, and the truth consists of \"behind the scenes\" facts that are very different than the public face of the industry. It isn't easy to make a film, and it must have been especially difficult in Canada in the late 1970s. Films involve tens, if not hundreds, of people. Many have incompatible desires, motivations and personalities. Especially crucial are the financiers and the on-screen talent, as if either drops out or becomes undependable at any stage while the film is in production, it could jeopardize the whole affair, either necessitating extensive reshoots or abandoning the film altogether.
So it's not surprising that Hollywood North focuses on those kinds of relationships. The result is an excellent film that is both hilarious and tragic at the same time. The script is flawless and the performances are top notch. This is a must-see for any budding filmmaker and anyone with a serious interest in the craft of film-making. It should also be more than entertaining for any viewer with a modicum of intelligence and a sense of humor.
A 10 out of 10 from me.
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user\n\"Hollywood North\" is an euphemism from the movie industry as they went to Canada to make movies because of tax breaks and cheaper costs in a civilized city like Toronto, in this case, later in Vancouver. Peter O'Brian, the director, probably saw a lot of the invaders from California that this movie seems to be the right way to deal with the arriving personalities trying to capitalize on the economics that Canada presented.
Needless to say, \"Moon Lantern\", the successful novel written by a Canadian author is turned into \"Flight to Bogota\", which has nothing to do with the original film. A great egotistical has-been, Michael Baytes, who is obsessed with what is happening in Iran, is offered the lead part, which turns to be a disaster.
The film seems to be saying that too many cooks have spoiled the broth, which seems to be the case with the ultimate product, which is saved by its producer, Bobby Myers. With the help of Sandy Ryan, who has been around making a documentary of the film being shot in Toronto, parts of the film are transformed into a cohesive movie at last.
The filming process is hilarious, and the acting, in general, is good.
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user\nI rented this movie on DVD without knowing what to expect - and as I am about to study film-making in Canada of all places, I most certainly will bring this up in class.
The story, centered around the probably most unlucky film team in the history of film itself, is brilliantly written and the very talented actors manage to deliver every single pun on time.
If you simply couldn't laugh during \"Hollywood North\" I suggest seeing a psychiatrist right away - you might have serious issues.
Besides the wonderful script I also noticed the great chemistry between actors Deborah Kara Unger and Matthew Modine - where they really just acting? Jennifer Tilly (playing a hilariously bad actress) and Martin Landau, also delivered a very edgy, yet funny performance.
Great film, even better cast.
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user\nThis movie captures the absurd essence of an overbearing American patriot actor -- one that believes his work (and politics) are as crucial to the American people as the opinions of the President himself. Alan Bates captures this mindset perfectly as Michael Baytes, and I will immortally remember Bates as this character. This is a movie for Canadians and Americans alike. It is a valuable piece of cinema, that which is able to take its audience through the magic of making a film and reveal just how easy it is for the producer and director to lose complete control to the will of the actors and innumerable outside forces. Wonderfully, \"Hollywood North\" does not suffer from the subject that it portrays: Peter O'Brian directs with precision and complete control, and commands both the serious 'behind-the-scenes' portion of the movie, and the movie-within-the-movie, \"Flight to Bogota\" with clarity and insight. If you are at all interested in the wit and strength of Canadian cinema, \"Hollywood North\" is a great place to start.
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user\nI recently saw this film and enjoyed it very much. it gives a insight to indie movie making and how much work is really involved when you have a low budget yet need a name actor/actress to get people, any people to come see it and give the movie exposure. Bobby Myeres played by Modine and his partner Saul - Paul Linder make an excellent combination finding eccentric Miachel Bates, a \"NAME\" actor played by Alan Bates was a perfect casting decision in the movie and for the movie. My favorite cast member was Sandy Ryan played by the magnificent and underrated Debra Kara Unger with her own special performance again in the movie within the movie. If you enjoy thinking when watching a comedy then this one is for you. Low budget meets lower budget with High laugh content.
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user\nHollywood North is a satirical look at the time in Canadian film history when the Canadian government offered huge tax breaks for films made in Canada. Most of the time it was treated as a tax shelter or a cheap way to get American films made. For example, Porky's came out of it. Anyways Matthew Modine plays a novice producer who wants to make an adaptation of a beloved Canadian novel. However, in order to get the money he needs a American name star. He gets a loose cannon and learns he has to compromise to the point where the film no longer resembles the book it was originally based on. It plays well in Canada but may not be understood outside of the Great White North. Americans will think we're satirizing ourselves but will miss the point that we're actually satirizing them. For Canadians 8/10 for the rest of the world 5/10.
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