User reviews

Paul Thomas Anderson; when filmophiles say the name, it is uttered with such reverence that the man may very well be canonized the contemporary patron saint of film. Offering a comparatively limited array of millennium masterpieces, PTA as he is lovingly sometimes referred to, perfectly balances his films' complex intellectual tapestry with a strong emotional core. The man is an admitted film-freak, listing influences as varied as Martin Scorsese, Stanley Kubrick and Max Ophuls. Pare enough layers and you can see how PTA apes certain images from these infamous auteurs. Yet his themes are wholly their own, mixing loneliness, isolation, family dysfunction and in the case of Magnolia, cosmic coincidence as a means to his cinematic end.

Magnolia follows an ensemble of interrelated and fatally flawed protagonists over a three day period. All are somehow connected to the L.A. based Partridge Productions owned by the elderly Earl Partridge (Robards). Earl is dying of cancer and asks his nurse (Hoffman) to contact his long-ignored son Frank (Cruise) who now makes his living as a professional pick-up artist. Meanwhile Partridge Production staple, the quiz show What Do Kids Know? is airing live with host Jimmy Gator (Baker Hall) who is also dying of cancer. Gator struggles to repair his relationship with his daughter Claudia (Walters) who has developed a cocaine habit and lives in relative anonymity. Meanwhile one of the show's contestants, Stanley (Blackman) is waffling under the pressure of his domineering father. The film is also book-ended by narration provided by stage magician Ricky Jay who offers further tales of the Ripley's Believe it or Not variety.

I am truly at a loss of what to think about Magnolia. It's a messy, dense and demanding movie that grabs your attention through the power of sheer pathos. The common thread of resentment towards fatherly bonds certainly begs the question and offers theories about what Magnolia is about. Yet any interpretation on PTA's singular vision falls short; torn asunder by complex editing, parabolic storytelling and characters histrionics. The film is big, the film is ambitious, the film (at over three hours) can feel punishing. And in the end resolutions are left frustratingly obscured amid the chaos. Many audience members will likely feel jipped though I remind you, life itself often makes no sense; why should we presume to find intellectual cogency in our art.

As we bounce energetically from one story to another, the audience is never feels lost in time, rather the film condenses and expands time in playful and interesting ways. For example: the quiz show for all its cerebral quality, is used as a stapling plot-point for most of the film's threads. Presumably the show takes place over half an hour, yet within that time, more than an hour of the film is un-spooled.

Magnolia is unequivocally a minor masterpiece of world building. The film reaches its emotional apex twice; within the first 20 minutes and within the last 20. Characters fiercely clash with one another like starved rats in a cage, helped in some cases by the presence of drugs, alcohol and in Tom Cruise's case alpha-male braggadocio. After a time, the characters settle into a routine awaiting the next existential crisis that gives them grief and the audience indigestion. Tension builds and builds as heroes and villains face off. And just when you think you can't take anymore, the film rewards with a plot-point so out of left field that you'd swear the Old Testament God was smiling on Magnolia's L.A. denizens.

I don't know what to think about Magnolia, but I know what I feel and I'm certain the feelings evoked by this film are purposeful and prove PTA to be a masterful storyteller. The film makes its audience run the gambit of emotional resonance, elevating its broad-stroke temperament with near operatic persistence. The camera, with its near omnipotence forces us to ask questions about the story and more importantly about ourselves. How do we control or alter our reality? When should we forgive? What problems left dormant in the past effect our lives in the present? We may not be provided with clear-cut answers but at least after watching Magnolia you may be pushed to wise up.

"Magnolia" is an incredibly unusual film...sort of an experimental project in it's style. Because of this and the occasionally extremely graphic language and depressing stories, it's a film that many would find hard to like...though I remember professional critics practically falling all over themselves praising it for its originality. So did I like it? Read on.

As far as how the film is experimental, it features many different stories that are interwoven throughout the story and it is really not apparently what connects them all during much of "Magnolia". There are also many rapid edits and jumps that make it difficult to follow as well as the three hour plus running time.

There is a prologue where several stories (including at least two urban legends) are all used to illustrate death and that perhaps in life there are no coincidences...and you can only assume the disparate stories that follow must be related to this...maybe. So what are the stories? Well, there are too many and too many parts to tell but they involve a dying man (Jason Robards) and his caregiver (Philip Seymour Hoffman), a woman who appears to be strung out (Julianne Moore), a cop who seems to go from one crisis call to another (John C. Reilly), a man who is dying and wants to reconnect with his angry daughter, an ex-quiz kid who now feels like a loser, a sociopathic motivational speaker (Tom Cruise) and many more. And do they all come together to make any sense? Well, they are mostly pretty depressing...at least I can say that without hurting the viewing experience.

As I watched, I found "Magnolia" very hard to stop watching. Despite not necessarily enjoying much of the film, it sure kept my attention. Much of it was because the film features a lot of great actors and they had some amazing moments in the movie. Is it a film I loved? No. But I do respect it for trying to be different. And, on balance I am glad I saw it. But I agree with the director/writer when he later said the film might have been better had it been pared down a bit.

A rich slice of modern life presented wonderfully by Paul Thomas Anderson. Nine or so "broken" people are followed through the film, each of them at least vaguely interconnected to the others. We are shown where they are currently at in life, and find out what has happened to have brought them there. By the end of the film, they are finally at a point where they can confront what is making them so unhappy and perhaps take control of their lives and look forward to a brighter future (even if their time is limited).

Some people have complained about the ending of the film, perhaps hoping for everything to be neatly tied up, or at least for something less absurd than we get. In my opinion, however, it is perfectly apt for things to end as they do. We dip into these characters' lives in the present, learn about their past, and leave with optimism for their future. I would have found a cinematic "group hug" to be overly sentimental and highly unnecessary. For that alone, the director must be applauded for exercising some restraint. It would have been far too easy to extend the story a bit further and portray the characters as now being "mended", but this is not how real life is and would not have rung true with the film's overall tone of "this is just something that happens".

The sheer ambition of the director is also welcomed. It looks like pre-millennial tension sparked off a mini-renaissance in Hollywood, with this film and others such as "Fight Club" and "American Beauty" harking back to the period in the 70s when there was no distinction between "mainstream" and "arthouse". A-list actors and directors were not afraid to take a few risks and box-office gross was not the only factor used to denote a film's success or failure. It remains to be seen whether the current revival is just a blip. Let's hope not.

As for Mr. Cruise, although this may be his best performance to date, at times he looked a bit out of his depth. At the bedside scene, for example, the clenched fist, intense gaze and facial grimace instantly shattered my suspension of disbelief. This trademark Cruise gesture (as much so as Bruce Willis' smirk) crossed the line between character and actor, turning "Frank TJ Mackey" back into "Tom Cruise - Movie Star". For most of the film his performance was convincing, but when the role required some real emotion or loss of control, his limited acting range was exposed. I don't think he'll ever be able to achieve the credibility he'd like, but a good start would be to take on more such challenging roles, with the proviso that they are not obvious vanity projects or oscar-vehicles.

To sum up, I found this film warm and sincere, not pretentious as some have suggested. As for the frogs? Well, don't strain yourself looking for some deep, hidden metaphor, just take it at face value and enjoy the pure spectacle that you get from the sheer number and size of the frogs. It's a visually stunning sequence, up there with other truly classic moments in cinema.

From reading some of the comments presented here, it seems a shame that many people can't get past the swearing, drugs, running time or "arthouse cinema" tag. To really enjoy this film, you probably need to watch it without any such prejudices, and to leave your cynicism at the door. Don't be afraid of not "getting it", take it as you find it. Just sit back, let it envelop you and you'll be rewarded.

The music; the way the camera moves; the performances: this amazing ensemble piece takes everything to the next level. Although the influence of Robert Altman and Martin Scorsese can be felt throughout the whole film, P.T. Anderson doesn't copy them but merely uses some of their trademark techniques to create his very own, unique brand of film.

There are so many creative ideas and standout scenes in this film: I'm sure that, similarly to how filmmakers of Anderson's generation are citing films like 'Nashville' or 'Goodfellas' as their inspiration, the next generation of aspiring directors will be citing 'Magnolia'. The film is not "just" a masterpiece, but also hugely influential and an instant classic. 10 stars out of 10.

Favorite films: IMDb.com/list/mkjOKvqlSBs/

Lesser-Known Masterpieces: imdb.com/list/ls070242495/

A dazzling epic of coincidence and fate during one day in the San Fernando Valley. This opens with a short story about some "true-life" examples of coincidence designed to show us that these things can't "just happen" and that there must be more to it than that. It then flies into the lives of a handful of different characters in a exhilarating introduction to a game show host, a sex guru, a police officer, a dying father, a male nurse, a drug addict to name a few. After this the speed slows down slightly and the characters are given time to develop and the stories begin to interlink.

Paul Thomas Anderson continues to get better and better with Hard Eight, Boogie Nights and now this. Here he gives a human touch to the director where someone like Altman would have been colder and more clinical. He seems to care about these characters and encourages us to do likewise. The direction is astonishing - it moves at a fast pace when it needs to, it is still and watching when appropriate and, at times, it is downright beautiful in a visionary way. Anderson's tries some audacious tricks and manages to pull them off - a scan round all the main characters singing an Aimee Mann track while they contemplate what's become of their lives is not only daring but works as one of the most moving moments in the film.

The acting is flawless - Cruise deserved the Oscar for this performance, but he is only one of an amazing range of actors including Julianne Moore, William H. Macy, Phillip Seymour Hoffman, John C. Reilly, Jason Robards, Philip Baker Hall etc. They are all excellent in their roles and make you care for all their characters - no matter how terrible they seem or how bad their crimes.

Direction is faultless, performances border on the brilliant, the script is totally convincing and moving. The only weak link is the biblical ending which may annoy some but I think fits in well with the tone of the film, after all, like the film says, "but it did happen".

If only all films could meet the standards achieved by this beautiful piece of work.

And it is a FILM. It is no ordinary movie. As a fan of Boogie Nights, I couldn't wait for Magnolia. Although its running time has made at least 20 people leave the auditorium, I have stayed for every single second. The mood and stories and characters keep building and building and building, and when it finally comes down, I feel this immense sense of relief and wonder at how PT Anderson was able to come up with something so clever and intertwining and wonderous, and was able to pull it off. This "movie" is not for everyone. It is thinking-hat required. I have also never been so excited to look up Bible verses before. The cast, as you have probably read, is superb. I have never been so impressed. This film has "restored my faith in the filmmaking industry. To see these actors, crew, and the writer/director/genius at work is inspiring." These people obviously love their craft, and one of my friends even said that the cast was "touched by the hands of God..." to which I whole-heartedly agree. He also has said, ""This film not only teaches film makers how to make films, but it teaches movie watchers how to watch movies!" to which I again whole-heartedly agree a thousand times over. Phillip Seymour Hoffman is absolutely outstanding as the only character who is "normal." His performance has made me smile and shake my fist in the air the three times I've seen Magnolia since it opened. Tom Cruise is also spectacular. As with every single last character, every line he utters is important to his character and what it means for the rest of the stories. Another outstanding performance/character is the part of police officer Jim Kurring, played by John C. Reilly. His character is just so perfect and JUST SOOOOO PERFECT that it makes me smile every time he is on screen. Add to all of this one incredible soundtrack, and you have something that will go down in film history as legend and probably one of the most underappreciated, misunderstood, and definitely underseen films of all time.

The soundtrack, oh, the soundtrack. When listening to the songs, I can picture each exact moment as if I was watching the movie all over again, and it brings unexplainable feeling. Aimee Mann's songs, especially, are a perfect fit to a perfect story and mood. This film is not for everyone, but, if you want to see glorious filmmaking, acting, writing, and characters in action, I HIGHLY suggest you see Magnolia.

A film such as Magnolia does not come around often enough. Though I felt that Boogie Nights attempted the same effect: exposing the base, unrelenting, human desires of Angelinos, it failed in several ways. Magnolia does not. Mr. Anderson sets out to show the underbelly of Americana, much like Mr. Mendes has done spectacularly with American Beauty. At the end of the century, these two films stand as landmarks in the evolution of the American. What we pursue in name only, piety, commonness with our fellow man, family, fame, fortune, and peace of mind, come crashing together in Magnolia, in an apex of misfortune, misunderstanding, forgiveness and renewal. These two films should scare the living daylights out of Americans, especially those living in Los Angeles. The stories show us that merely giving lip service to morals, self-improvement and camaraderie is not enough, we can fake it for only so long, before life overtakes us in a deluge of happenstance and retribution. Mr. Anderson is a wonderful storyteller, and Magnolia is the most visually and aurally satisfying film in years. Ms. Mann's music and the ensemble acting are symphonic. This movie is as tightly composed as any work in cinema one can remember. Obviously, I highly recommend it.

Magnolia is a film of epic proportions. A film that is our generation's. It's about real life, real people and real coincidences. These things happen, this is happening as Stanley Spector states. Magnolia is as perfect a film as you will see these days. P.T.'s camera acts as the protagonist, and the ensemble cast is one of the most solid in film history. Told in 24 hours, set up by a remarkable prologue and finished with a beautiful epilogue, Magnolia finds beauty in the darkness of life. In the redemption of the filth life sometimes brings us. It shows us that we are all connected through pain and suffering and sinning and yet, it does not give us this pessimistic view. Certain films cannot be described, they must be viewed and everyone should view this masterpiece!!!

Definitely not my cup of tea. It lasts a very long time, there are too many characters, at times it is pretentious and boring, and the ending did not suit me. The film is somewhat drawn by some actors who had strong roles. By far the best part of the film were the first few minutes, and that's not a plus. Obviously this director and his style don't suit me.

`Magnolia' seems to divide audiences as much as it bewilders them. Some there are who see it as a brilliant exercise in creative, thought-provoking moviemaking, a film that challenges the notion that modern American cinema is comprised exclusively of formulaic retreads of earlier films or slick, mechanical displays of technical virtuosity, devoid of meaning and feeling. Others view `Magnolia' as the nom plus ultra of pretentiousness and self-satisfied smugness. Which of the two assessments is the correct one – or does the truth lie somewhere in between?

Actually, there is much to admire and cherish in `Magnolia.' Writer/director Paul Thomas Anderson has done a commendable job in putting on the screen a relatively unique vision – a qualification I feel forced to make because it does seem patently derived from much of the trailblazing work of director Robert Altman. Like Altman, Anderson creates a vast canvas of barely-related and briefly overlapping storylines and characters that come together under the umbrella of a single major theme and a few minor ones as well. Anderson's concern is to explore the concept of forgiveness and to examine the part it plays in the redemption we all seek through the course of our lifetimes. In this film, dying characters struggle to make amends with the loved ones they will soon leave behind, while estranged characters grope tentatively to establish or re-establish the bonds that must link them to other members of the human race. Anderson presents a tremendously wide range of characters, though for a film set in the northern areas of Los Angeles, `Magnolia' provides a surprisingly non-diverse sea of Caucasian faces. However, in terms of the ages of the characters, Anderson's crew seems more comprehensive, running the gamut from a pre-teen wiz kid to a terminally ill man in his mid-60's. Many of these characters seem to have created any number of facades to help them cope with the miseries and disappointments of life – and much of the redemption occurs only after those masks are stripped away revealing the emptiness and hurt that, in many cases, lurks so close to the surface.

Thematically, then, Anderson's film is a compelling one. Dramatically, however, it suffers from some serious flaws. Many viewers and critics have called `Magnolia' an artistic advancement, in both depth and scope, for Anderson, whose previous film was the similarly dense, moderately freeform `Boogie Nights.' I tend to disagree. If anything, `Boogie Nights,' by limiting itself to a much more narrowly restricted milieu – the 1970's porn industry – and focusing intently on a single main character, managed to connect more directly with the emotions of the audience. `Magnolia,' by being more expansive, paradoxically, seems more contracted. The pacing is often languid and the screenplay, running a bit over three hours, often seems bloated given the single-mindedness of its basic theme. Certainly, a few of these characters and storylines could have been dispensed with at no great cost to the film as a whole. By lining up all his characters to fit into the same general theme, the author allows his message to become a bit heavy-handed and over-emphatic. Anderson seems to want to capture the whole range of human experience on his enormous (and enormously long) movie canvas, yet because the characters seem to all be tending in the same direction - and despite the fact that the details of their experiences are different - the net effect is thematically claustrophobic.

The controversial ending, in which an event of literally biblical proportions occurs, feels generally right in the context of this film, though with some reservations. It seems perfectly in tune with the quality of heightened realism that Anderson establishes and sustains throughout the picture. On the other hand, the ending does pinpoint one of the failures of the film as a whole. Given that the screenplay has a strong Judeo-Christian subtext running all the way through it, one wonders why Anderson felt obliged to approach the religious issues in such strictly oblique terms. None of the characters – not even those who are dying – seem to turn to God for their forgiveness and redemption. In fact, one wonders what purpose that quirky ending serves since the characters are well on their way to making amends by the time it happens.

Anderson has marshaled an array of first-rate performances from a talented, well-known cast. Tom Cruise provides a wrenching case study of a shallow, charismatic shyster, who has parleyed his misogyny into a lucrative self-help industry. Yet, like many of the characters, he uses this façade as a shield to hide the hurt caused by a father who abandoned him and a mother whose slow, painful death he was forced to witness alone. The other actors, too numerous to mention, turn in equally worthy performances. Particularly interesting is the young boy who, in counterpoint to one of the other characters in the story, manages to save himself at an early age from the crippling effect of identity usurpation that it has taken so many others in this film a lifetime to overcome.

In many ways, `Magnolia' is the kind of film that could easily serve as the basis for a lengthy doctoral dissertation for a student majoring in either filmmaking or sociology. The density of its vision would surely yield up many riches of character, symbolism and theme that a first time viewer of the film would undoubtedly miss. Thus, in many ways, `Magnolia' is that rare film that seems to demand repeat exposure even for those audience members who may not `get it' the first time. As a viewing experience, `Magnolia' often seems rambling and purposeless, but it does manage to get under one's skin, and, unlike so many other, less ambitious works, this one grows in retrospect.

I rented this movie from Blockbuster without knowing anything about it. I was hooked from the opening scene until the final frame and was sad to see the movie end. The character development, plot, and acting were magnificent. I was moved on many levels and felt almost every conceivable emotion at one point or another. The characters seemed so real to me that I was hard pressed to think of a movie that had the same strong level of character development across the board. The only negative comment I can make is that I felt like there were a couple loose ends when the movie finished. But this may have been intentional and was a minor blemish in an otherwise very fine film. Even Tom Cruise reached new levels as an actor in this film. I gave it a 9 out of 10, only because a perfect 10 is a once in a lifetime film in my opinion. A must see for serious dramatical movie lovers.

That is what this film is about and "Strange things happen all the time" are the best ways I can think of to describe the overall plot of the film. The story of a dozen people, on one incredible day, in one very wet valley, on Magnolia Avenue.

I could list reason, after reason, after reason why this is one of the finest films I've ever seen... I really could. From the fact that every cast member gives an oscar-worthy performance, to the fact that this film has upwards of 10 amazing sequences I have never seen before, and probably will never see again, in any film.

This film gets my highest recommendation and a definite 10. I say see it right now, and see it as many times as possible.

Forget American Beauty, The Sixth Sense, Eyes Wide Shut. Magnolia is definitely the best movie of 1999, and one of the best American movies ever made.

Boogie Nights, Paul Thomas Anderson's previous effort was already a promising effort, but it was a bit too long. Magnolia is even longer, but it's filled with such a spectrum of touching stories and such a quantity of wonderful characters, that I didn't even notice the three hour length. Magnolia is a mosaic of intertwining and intercepting stories, dealing with such issues as forgiveness, hurt, redemption, sin and the role of chance in our lives. And though the film offers a deep emotional catharsis, it never loses it delicate, humane tone. The people Magnolia displays are not the best of men, but none of them are beyond forgiveness. That, to my opinion, is the most important message the film conveys.

As many have already said, Magnolia is an ensemble piece. Acting is superb throughout the film, and though Magnolia has approximately ten lead role and a bunch of supporting characters, there isn't a single member of the cast who is misplaced. My personal favorites are Philip Seymour Hoffman as the sensitive nurse (compare this role to the sleazy characters he played in Boogie Nights, Happiness and The Talented Mr Ripley and you'll notice what a great actor he is), Tom Cruise as the self-made seduction guru (his best performance ever) and William H. Macy as the former child prodigy who never grew up (his role resembles the one he did in Fargo, but in Magnolia he is redeemed of his sins).

No film is perfect and even Magnolia has it's flaws, but I'm still so stunned by this masterpiece that I haven't even started to think what they could be. That, I think, says it all about the quality of this film.

Rating: **** (of ****)

For all its in-the-moment emotional impact and bursts of odd, intercut-driven tension, 'Magnolia (1999)' ultimately amounts to very little, even within its own individual stories. It avoids the usual narrative satisfactions under the guise of them being clichés - as opposed to tried-and-tested storytelling techniques - and tries its best to utilise coincidence in an apparently true-to-life way it's determined has not been done before - despite the fact that such coincidences are still clearly crafted to fit a preconceived plot and, therefore, should provide at least some narrative catharsis. As such, the flick almost feels like a waste of the enormous and, as Anderson himself puts it, unmerciful three-hours and eight minutes of your time it takes up. Yet, it does take up those minutes rather amicably, in the sense that the time sort of flies (to an extent) and you do become quite invested in some of the the intertwining tales you're being told, despite the fact that it's all so melodramatic and essentially one-note that it can be hard to take seriously even when it should be at its best - something which isn't helped by the in-your-face and often out-of-place music. The picture also constantly builds to a climax that never really comes, despite the big and all-encompassing event that tail-ends its third act. If it didn't seem like it was telling you how to feel all the time, it would have worked much better. 7/10

My real introduction to P. T Anderson, the man who would go on to create "There Will Be Blood", this film is not one you watch lightly, but rather one you set aside a whole evening for, lights out, preferably alone or with someone equally as enthusiastic (as is the case with most of his work) and engross yourself in for a good three hours.

That three hours is an unusual urban tale in which a host of strangers' stories intertwine, each affecting another in some way. The film is about death, regret and lost opportunities (uplifting stuff!) It is moving beyond measure, a good 90% of the film set to a stunning soundtrack, including powerfully relevant tracks by Aimee Mann, that becomes as vivid and important a character as any of the screen players.

This is unconventional cinema that requires some patience, but rewards that patience massively, with great, complex characters, played by a top-notch cast amongst whom there is not a weak link: Tom Cruise is a perfect scumbag with whom we empathise anyway; Julianne Moore is at career-best as a woman who was a gold-digging leach, and who then fell in love with a man whose fate is now out of everyone's hands; William H Macy is an ex boy-genius, now a lost soul just looking to fit in for once, and the young Jeremy Blackman is the current boy-genius, sadly destined to follow in his footsteps. We have Philip Seymour Hoffman, who it would appear can do no wrong, in a relatively small but impacting role as a carer, John C. Reilly as a devoutly religious cop, who is in love with a cocaine-addicted no-hoper, played with intensity by Melora Walters. And there's plenty more...

P.T. Anderson's ability to manage tone is remarkable, the film at once funny, heart-warming, sad and heartbreaking, part music video (at one point quite literally), and with a surreal final act, which can put some people off, but whose religious reference is important to those who would understand it. Anderson is a fascinating filmmaker, and love or hate it, you certainly won't walk away from "Magnolia" unchallenged or without reaction. He would go on to up his game with "There Will Be Blood", but this is nevertheless a superb and strange drama that has high impact.

A taut, tense and mesmirising film that unfortunately loses power due to its length, however it is otherwise good. The film is an interesting, well acted and for the most of it well shot cinema piece, concerning how one person can affect others unintentionally. It is, however, too complex and often hard to understand, which tends to lose a viewer's attention. In addition, the film is not dissimilar from other films about interconnecting lives that the film industry has presented before us. This one however tries to add some extra meaning to the genre, only in part succeeding, because although the philosophy at the start of the film seems appropriate, the end sequence metaphor seems somewhat ill judged. Tom Cruise's superb performance earned him an Oscar nomination.

Wow! When I first rented this movie and saw the length of the film to be a little over 3 hours, I thought it would be a waste of a good 3 hours of studying time. I had to return it 4 hours later at Blockbuster and I thought...what the hell, I want to see why there was so much fuss about this movie. After about an hour into the film, I noticed that there was no absolute plot leading the story into any foreseeable direction. No plot, no point, I loved it. I've never seen a film with so much force and the pacing was absolutely astounding. The story was filled with little vignettes and constantly jumped from one scenario to another scenario with such a smooth transition that I was in movie heaven. I loved the 3 hours spent on this great movie. Definitely an art piece that people should not miss.

Best movies are immersive experiences. You forget you're watching a movie. You just identify with the characters, you want them to succeed, to overcome, to get there. Whatever it is, not die, get the girl, fall in love, get their ex back. You forget it's a film, you believe it actually happened. You don't analyse camera movement, or the colour grading or the cinematography or the music or soundtrack.

This film is exactly the opposite. You never forget that it is a movie. You never forget that these are actors. You constantly feel aware pf camera movements, or the lighting. The music is unrelenting and almost continuous, it totally kills the film instead of enhance it.

You are not lost and immersed in a story, you are aware of the concept, of what the director whats to achieve. This movie is so pretentious and it is 90 minutes too long. Any rookie editor can cut this down by half.

Slow, boring, portentous and just straight awful. I struggled to finish watching this film, the only thing that made it possible to labour through it were the stelar performances of the amazing stars line-up.

Judging from the comments archive, I can see why this film polarizes its audiences as much as it does. This film defies convention in all possible senses--characterization, dialogue, narrative structure, heck, even the introduction. To be honest, this movie is truly strange. But that doesn't necessarily make it bad. Quite the contrary, actually. In my opinion this is one of the best movies I've seen. The acting was superb, and the performance I got from Tom Cruise was surprising to say the least. I don't expect much from him other than crocodile tears and beaming that thick smile, but here he credibly displayed a wide range of emotions. The photography was excellent, the pacing was quick (despite the 3:15 runtime!), and the structure! the best thing about it. Although the movie does dwell on a very central theme--the price and necessity of salvation--much of the movie is left undone, as raw material for thinking about later, as if the characters just keep on living. As I said, it's not your standard movie fare. But don't dismiss it for what lies most visably on the surface; instead, sit through the movie, soak it in, and when it's done, turn out the lights and think about it for a while. You'll be glad you did.