My Blueberry Nights (2008)

Sadly Over-hyped

A lot of fun.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

This is not usually the kind of film I would pick up but I was intrigued that it was Wong Kar Wai who directed and that Lawrence Block had a hand in the writing. Not sure if this should be called a romantic comedy, probably not as its not very funny, nor is is particularly romantic. I guess there are romantic notions, deliberations over whether to have the infamous blueberry pie, the rather charming business regarding customer keys left at the diner and other little things made rather a lot of. Main thing, this is really good to look at. As was to be expected this is very colourful with the director making the most of neon and reflections. Not afraid to shoot wondrous close-ups irrelevant to the dialogue. Which brings us to Lawrence Block, whose work I have read rather a lot of. Apart from his hard edged villainous stuff (and even within some of those) he can switch effortlessly to believable, small time dialogue, bit like how Tarantino does rather heavy-handedly. Here the actors seem to have had a hand in it too, so much comes across as improvised and no the worse for that. Its just this doesn't really go anywhere, not really, but it is not an unpleasant way to spend some time.

Huge fan of the director here.I can really understand how some people hate this.WKW is an acquired taste to begin with, but then he had to go and make an "American" film. As oft the case, the foreign director here hires a musician/non-film-star, probably thinking it would be hip. It features a lot of her music anyway, right? It's just weird seeing Wong Kar Wai in English, and with known Hollywood stars. We're too busy star-gazing at Jude Law and Norah Jones to really appreciate the visual delights of the film.The script here is extremely stale, and the acting not much better. The only real treat comes later in the film with the introduction of Natalie Portman's character. Her character is the only character with any depth, and same goes for her performance. She saved this film for me.I wouldn't recommend this to anyone except those who like or are starting to get into Wong Kar Wai's films.Visually, it's just a stunning film surrounded by boring(for the most part, save Portman) characters. The film really looks fantastic. I get the sense there were some cultural hurdles here that presented problems. It might have been hard for the director to sense the quality of the line delivery, and perhaps casting could have been influenced in the same way. There was something that just didn't work with the story here. Fans of the director are use to having to read further into what this director is trying to convey, but here, the mind lacks that journey.The film also lacks the occasional shock-value usually present in the director's films. There's a small attempt made with a little subplot starring David Straithairn and Rachel Weisz. They should have played the lead roles - it would have made this film a little better.So this definitely has 'the look', but lacks the intrigue.63/100

Jeremy (Jude Law), from England, has moved to Manhattan and operates a small "pub". His specialties are his wonderful desserts, including blueberry pie. One day, a beautiful young woman, Elizabeth (Norah Jones) walks in to the place, extremely distraught. Her boyfriend has ended their relationship and she is beside herself with grief. It seems her former love comes into the pub and she was hoping to "run into" him. Despite Lizzie coming a few times, she doesn't meet him. Then, too, although Jeremy obviously grows to like her, its too soon for Elizabeth to even think about moving on. So, Lizzie sets off for Memphis and sends postcards to Jeremy from time to time. In Tennessee, the young lady works as a waitress during the day and in a bar at night. Amazingly, the same man frequents both places. That would be a police officer (David Straithairn) who eats in the morning and gets totally drunk at night. An alcoholic who has tried to quit, he is now in deep because his gorgeous young wife, Sue Lynne (Rachel Weisz) has left him. Lizzie tries to comfort him but he remains melancholy. Will his broken heart ever mend? After living in the South, Elizabeth goes west to Nevada where she meets Leslie (Natalie Portman) who wants to sell the waitress her dad's car, Lizzie's fondest wish. All the while, Elizabeth continues to write to Jeremy. Is a new affection brewing? This is a stunning film, with a sensational story, script and direction. In addition, the photography and editing are awe-inspiring, very creative and unusual. On top of this, the cast is likewise wonderful, with Law, Jones, Straithairn, Weisz, Portman, and all of the others exhibiting fine, fine performances. So, despite a cover that looks like a typical romantic drama, this film is much more. Thus, this viewer says, make your night a Blueberry Night soon.

Don't bother with this if you're looking for deep existential meaning and revelation. But if you want an entertaining hour and a half story about a young woman's escape from her old life and her journey into some new horizons, then by all means give this a go. As our main character Lizzy (Norah) goes from her home base in New York, (where she cries on the diner owner's shoulder (Jude Law) about her unrequited love problems), to new horizons farther out west, she gets continually exposed to other dysfunctional relationships that actually pale in comparison to hers. The director (Wong) takes us through a couple of quasi-vignettes where our central character dons her waitress garb and meets up with an estranged and embattled couple in Memphis, soundly portrayed by David Straithairn and Rachel Weisz. This short segment of the film is deftly executed and gives our protagonist some serious food for thought.Tragedy ensues in Memphis and prompts Lizzy to journey farther west where she runs into a fast and sassy gambling lady (Natalie Portman). A similarly poignant story ensues as her "high-rollin'" new found buddy has some skeletons in her own closet that she continually tries to suppress. Ms. Portman's characterization here is worthy of note as she shifts her metaphorical gears ever so effortlessly from the brash high-roller to the lonely daughter of the estranged father.All through these events, Lizzy injects a subtle yet effective narrative as she sends letters of these goings-on to her old diner owner buddy back in New York. They are reflective and heart-felt and give the film a warmth and compassion that our protagonist seems to be developing on her soulful journey. Norah does well in achieving this subtle metamorphosis, especially when augmented by her lovely vocal and musical accompaniment. Other "non-Norah" sound track cuts also add emphasis and flavor to their given scenes.However, the journey goes a full 360 degrees as she finally goes back to her home base in New York, full new found experiences and perspectives. She arrives back in the "Big Apple" just prior to the diner closing where maybe she can get time for one last healthy portion of her favorite pie...and maybe more!