Σχέση 5 με 7 (2014) Online

I will admit that the film had me in the first few seconds. That it was no accident made it even more appreciated. That it fulfilled its promise by the end left me thinking, smiling and feeling good. A lot of care, love and thought had gone into making a story about likable people who are complex characters. Please, give me more. The script, the acting, the camera work and the perfect pace, made it all a beautiful pastiche of quiet and quality film-making. Yes please, give me more. But it would be helpful if these gems are not hidden away from the public. Thank God for Netflix. I've searched for some information on the film after watching it and saw that this was a debut for Victor Levin as a director. I am looking forward to more.

Greetings again from the darkness. Somewhere along the line, the magic of movie romance has been lost. Love stories these days tend to take either the direction of snark or sap (or whips). Ever so popular in the 1940's and 50's, well-written sentimentality for the big screen would best be described these days as passé'. And that's what makes writer/director Victor Levin's little film such a pleasure to experience.

We begin with a narrator proclaiming that some of the best writing is found on the tribute plaques attached to the benches within Central Park. Those plaques are used a few times throughout the film to drive home a particular situation or status within the story. The narrator is Brian (Anton Yelchin, Star Trek), a 24 year old struggling writer whose parents want him to give up his writing dream and head to law school.

One day, while walking through the city, Brian catches a glimpse of striking woman smoking a cigarette. He crosses the street and the two exchange some clever banter. Just like that … the story begins and their lives are forever changed.

The woman is Arielle (Berenice Marlohe, Skyfall), and she is French, older than Brian, and married … 3 things that are equally problematic according to his dad (Frank Langella), though his mom (Glenn Close) is just thrilled someone likes her boy. As the flirting escalates, Arielle proceeds to explain to Brian that she is open to seeing him daily between the hours of 5:00 pm and 7:00 pm. Familiar with French language, but unfamiliar with customs, Brian is brought up to speed on "cinq a sept" affairs – a tradition in France, where a married person's whereabouts are not questioned during the period after work and before home.

As you might guess, the affair does wonders for Brian as he is finally experiencing the world … passion … connection. Arielle opens his eyes and mind to many things, and Brian is especially taken aback as the lines blur between family and outsiders. This leads him to meet Jane (Olivia Thirlby), who is not just a rising young editor, but also the mistress to Arielle's husband Valery (Lambert Wilson). Yes, it's a tangled web that's woven.

Mr. Levin's script is remarkable in its effectiveness at providing the awkward situations with a dose of humor; and his targets include Jews, the French, and Americans and their customs. It's impossible not to think of the classic film The Graduate, or even Linklater's "Before" franchise, but this one is different … it does not shy away from sentimentality, romance or emotion. The film wears its heart on its sleeve – or more aptly, the screen. We feel (good and bad) right along with the characters.

The camera only uses close-ups when it must, and instead allows the scene and the characters to breathe. There is a simple looking, but wonderful shot of Brian and Arielle walking through Central Park directly towards the camera. They are in discovery mode towards each other, and it's fascinating to listen and watch.

Anyone who fancies themselves a writer will tip their cap to no less than eight lines that are near perfection. Being "too happy to write" is certainly a relatable emotion, but few films feature better last lines than this one … if only we could each be that one reader to which the line refers. If you are open to some heartfelt sentimental romance, then give this one a watch. If not, you'll certainly find no shortage of reviews from caustic critics so quick to rip a film lacking in snark and sarcasm.

I began this movie, knowing little of what awaited me. Many movies you watch in life are movies that just fleet by, without having an impact on your view of life, of love, of what's important to you. This movie was and remains different. It is a movie that will challenge your idea of life and of love foremost. If you are prepared for this, then I strongly advice you to watch this movie. It was gripping without its like. I have never been this moved by a movie, and it will probably take a long time for me to find a movie of its like. 10/10

This is one of those small gems of a film which is best viewed knowing nothing or very little about its details. The acting by all is good; Frank Langella, Glenn Close and the main French actress are the standouts. The story is sweet, if a tad implausible, but then all good love stories must have an element of implausibility to capture our imagination. Despite what other critics have written, I thought Anton Yelchin was wonderful. He is awkward, skinny yet confident -- his style is endearing and believable.

This is an unconventional, small film which took me by surprise. Well worth the watch.

It's a love story. It's a coming of age story. It's a class-of- cultures story. But to call "5 to 7" a "romantic comedy" is to evoke images of all sorts of rom-com clichés that this film does its best to avoid. There were moments when I expected the movie to go in a predictable direction, and it didn't. I thought this was going to be a movie about a young, sheltered writer who could never achieve success until he stopped writing and started living -- but, while this played some part, it wasn't exactly that, either.

Best of all, I adored every character in this movie. There are no villains. The only villain is life -- the inherent complications in good people's lives that, try as you might, you can't dodge. The two principals, Anton Yelchin and Bérénice Marlohe, were perfect. Frank Langella was hilarious; Glenn Close touching. And the sprinkling of real-life people into the story was handled exactly right.

It's a shame that this movie has had such a limited release. It is truly a wonderful film.

Leave it to the French. As if romance in modern America weren't already challenging enough, along come a French couple living in the U.S., complicating things further. Apparently, in France, if you're going to have an affair, 5 to 7 p.m. is the accepted time. It's the time of day when your whereabouts are naturally somewhat ambiguous, which makes it easier to discretely engage in this kind of… activity. And, if you have an understanding spouse, such a thing is perfectly acceptable! In fact, if the rules are followed and everyone involved is agreeable, all of you can even be friends! Anyway, that's the basic set-up for the romantic comedy "5 to 7" (R, 1:35). Now, I don't usually do this, but I feel the need, for the sake of my personal safety, to begin this review with a disclaimer: Although I thoroughly enjoyed this movie, no one with whom I have been, am or might one day be in a relationship should read into this review any approval on my part of any of the attitudes or activities depicted in this movie or any desire on my part to engage in such activities. Whew. Okay. I think I'm covered. On with the review… Anton Yelchin (best known as Chekov in the recent "Star Trek" films) plays Brian Bloom, an aspiring writer in his mid-20s. He meets a sophisticated French woman named Arielle (Bérénice Marlohe, the "Bond girl" in "Skyfall") on the streets of New York City. She's outside smoking, he's a smoker too, he speaks a little French, yada yada yada, another Big Apple romance is born. The problem is that she's married. Or IS that a problem? She mentions her marital status very (note to self, insert appropriate French word here)… nonchalantly. Brian is confused. Arielle explains that the French have a different attitude towards these issues. She and her diplomat husband, Valery (Lambert Wilson, a veteran of both French and American films), are each free to take a lover, as long as they are discreet and only "get together" between the film's titular hours. Brian moves from confused to freaked out, but he goes for it. After all, Arielle is beautiful, sexy, cultured and has a magnetic personality… all of which I'm noting purely objectively, of course. (I am in SO much trouble right now.) Things go swimmingly for Brian and Arielle. Arielle is so happy, that her husband notices, tracks down Brian and… invites him to dinner. Brian is still very uneasy about this whole arrangement, but he accepts Valery's invitation. At said dinner, Brian meets a New York conductor, a restaurateur and, in a random but cool cameo, civil rights pioneer Julian Bond. Brian also meets Valery and Arielle's perfect children – and Valery's mistress, Jane (Olivia Thirlby, who appeared in another unconventional romantic comedy called "No Strings Attached" in 2011), and Jane just happens to be an editor at a NYC publishing house. Soon, Brian's parents (Glenn Close and Frank Langella) pop up, meet everyone and comment on the goings-on. The crazy thing is everyone gets along with everyone… until at least one member of this group inevitably ends up wanting more than just a 5 to 7 romance.

"5 to 7" is completely adorable! Every single one of the characters (and I mean EVERY SINGLE ONE) comes across as so genuine, kind, interesting and fun that I would want to hang out with any of them, but preferably all of them (nothing kinky, of course). And they're not only fun, but also very funny! This is a smile-from-ear-to-ear romantic comedy that also has more than its share of laugh-out-loud moments. But as adorable and humorous as it is, this film is also touching, romantic and even thought-provoking. Embedded in the dialog and the plot is a subtle, but powerful message for tolerance and against judging the culture of another based on the standards of your own. However, I should point out that, even though I love this movie, I also loved "The Godfather" but still haven't joined the mafia. Just sayin'. Seriously though, "5 to 7" is a wonderful film and can be enjoyed by anyone open-minded enough to watch it without judgment. "A+"

Utterly charming throwback to the French New Wave. While the title refers to Agnes Varda's Cleo from 5 to 7, the plot feels a bit more like Rohmer's Chloe in the Afternoon, and Truffaut's Jules and Jim is featured prominently in the film itself. As it moves on, it switches from a more intellectual French view of romance into a more passionate American view of it. Despite becoming more conventional, it works well thematically with the clash of French and American values. The film follows a 20-something writer in New York City (Anton Yelchin, still feeling a bit forced with an American accent) who falls for a married French woman (Berenice Marlohe). He doesn't want to be a homewrecker, but she insists that this is perfectly normal in her culture and that her husband (Lambert Wilson) has his own mistress (who will appear later and be played by Olivia Thirlby). It just has to be kept casual, and between 5 and 7, which is like the understood times these things are done. The relationship blossoms and Yelchin soon even becomes part of the family. As a young American, though, Yelchin's love grows too big and he hopes to make more of it than just an affair. This is a remarkably charming little film, and a surprisingly romantic one. It may not be that surprising, but it's quite good. Glenn Close and Frank Langella also co-star as Yelchin's parents.

5 to 7 is a smart, endearing, and entertaining film, well interpreted and, while in the course of deftly playing off cultural stereotypes, resonantly manifesting significant character development.

The plot revolves around a romance with repercussions that demonstrate a significant gap between American and French social mores. That very gap becomes the stage for the film's comic zone, where the protagonist and his parents manifest the angst that generates its constant chuckles and a few really good belly-laughs.

The film fits squarely into the Uptown New York awkwardness-generates-witty-repartee pattern that has been so well established by Woody Allen and followed by Whit Stillman. Well crafted dialogue delivered convincingly.

Anton Yelchin turns in a compelling performance as the protagonist, Brian. He interprets a highly endearing character: sensitive, intelligent, thoughtful, driven and respectful. He and each of the principle characters display commendable characteristics that make them all highly likable.

Bérénice Marlohe glows with exuberant kindness and empathy. Lambert Wilson, expertly portraying that which Americans find both typical and impenetrable of the (particularly aristocratic) French, reveals therein universally-recognizable and enviable grace and integrity. The audience at the Miami Jewish Film Festival howled with laughter as Glenn Close and Frank Langella, playing Brian's parents, masterfully interpreted the Jewish martyr-mother and stubborn father, respectively.

Victor Levin's directorial sensitivity enticed each of these actors to interpret stereotypic portrayals in a loving manner, to great comic and dramatic effect. Levin walks the line perfectly without offense. The characters are not caricatures: they are quintessential and highly endearing and human incorporations of their representative communities.

As the plot unfolds, Brian becomes a study in character development. He learns, on all planes, the value of dedication, sacrifice, and a good underlying moral compass. The story is accessible and compelling. It speaks to serendipity and the extent to which life is a sum of our experiences, most markedly seen in relationships. I found a very resonant message that these relationships are best savored with sensitivity to their context and they always be remembered with sweetness. Ain't that the truth!

This is a movie that slowly inexorably creeps up on you. All of a sudden you are seeing a wonderful story, carefully crafted and acted. I am stunned that 5 to 7 has been seen by so few people. I rarely rate a movie a 10. But his clearly deserved that and perhaps and another star.

If you watch 5 to 7 (and you should), keep an open mind for the first 10-12 minutes. Do not expect a simple romantic comedy, nor all the clichés that come with that genre. Rather you will be watching literature. Anton Yelchin deserved, no less, than an academy award nomination. And French actress Berenice Marlohe deserved an Academy Award. They are so overpowering in their roles that you will forget that a great actress, Glen Close, and a great actor Frank Langella have roles.

10-stars. Bravo!!!!

The first rule of a romance film is that lead actors need to have on-screen chemistry. The second rule is that you empathise with them enough to become involved and care about them.

I'm afraid neither of these two factors existed. There is no way a beautiful, classy, sophisticated woman would show an interest in an average looking, unimaginative, wide eyed boy. Not that age matters, or even looks but the script simply didn't bring any depth or personality to the male lead, so there is nothing more than the superficial to consider.

The acting is wooden, the script is infeasible, stilted and unnatural. Also, as another reviewer commented, there is a French stereotype that is observable in many films which is inappropriate and inaccurate and confining.

Woody Allen could have used the remit of this film to make a gem.

Being French there's something I had to ask myself as soon as the film started? How is it that in so many movies French women are always depicted as the super-wise, cold but sensitive, I always know it all, i always have an answer type? I find that stereotype utterly annoying.

Every bit of this movie felt so fake and forced. I did not believe a single sentence of what I was listening in the movie. The script writer should have brought the dialogues down a notch cause even if the protagonist is a writer and the woman he likes seems cultivated, the conversations they hold are plain inhuman. No one, I repeat no one talks like that!

This movie irritated me enormously! I just want to get finished with this review to forget about it forever! The only thing good about it was the title, and the history of couple getting to know each other form 5 to 7pm. After that, everything is downhill with no brakes.

When I decided to see this movie I was aware that it played a little bit on stereotypes. American vs. French culture, clumsy writer vs. ex-model trophy wife and so forth. Boy was I in for a surprise!

The script of this movie is a feat of creative writing. It proves that yes, you can actually write a movie script where every single line spoken is a cliché and where every single character is a superficial caricature. The clumsy writer says all the things "clumsy writers" say. The beautiful French adulteress responds with everything that we would expect from a "French adulteress". They have an affair, but everybody is cool with it because this is how they do it "in France". You get the picture.

The screenwriter evidently thought that his little gem could find itself in no better hands than his own, so he decided to also direct the movie. This leaves us with the added bonus of visual clichés in addition to the linguistic ones. Look, when an actress behaves all the time like she's some kind of Venus walking on earth, it's not sexy or sensual, it's just cheesy and banal. And yes, you dear director, I think it's your fault that she does it like that.

The movie could have been promoted from a sad parody to a watchable run-of-the-mill romantic comedy if the actors had helped it a bit. But no, the actors are not really acting, just reading the miserable script. So, sad parody it will be.

My advice is save your precious time for something better. This is just a pretentious trashy movie that thinks of itself that since it has a "French" theme it must definitely be full of high culture and refinement. No, sorry, it just doesn't work like that.

3/16/17. I wanted to watch this because I like Anton Yelchin. The fact he died so young from a tragic accident made me want to catch everything he did. Sadly, Yelchin came off as being somewhat awkward in this somewhat implausible romance. Perhaps people living in such circles act this way, but just seemed a bit unrealistic.

If it hadn't been set in NYC, I would have given it one star. The acting was atrocious - maybe because the script was so stilted. The only time my interest was piqued was the few moments when Frank Langella was on screen. And believing the two leads as lovers was beyond the stretch of my imagination. We know from the start that she is older but the male lead looks fourteen. Frankly, they looked absurd together. I'm sure they were trying to evoke the feeling of The Graduate but it was not even close.

But the filming was beautiful. It's always fun to see glimpses of places you know and love, or get the atmosphere of New York City.

Is this based on any famous book? The answer is simply no. Purely a cinematic work written and directed by a first timer. One of the very unique storyline and one of the beautiful indie films of the 2015 that needs wider recognition. The first thing anyone who decides to watch this must keep their mind open, because the majority would think it is an atheist propaganda. But I say it looks in whatever way you see it.

Quite similar to the British film 'The 7.39'. Both are completely different from each other, except that timeline where most of the story happens as it is denoted in their titles. Yes, 5 to 7 is the time in the dusk hours where two people meet. It all begins when a young writer Brian in his early twenties meets a woman called Arielle in her early thirties on a roadside and instantly they become friends. Like it's their destiny to meet, they found each other.

After the initial stumble, they decide to meet every day at the same time. Their new relationship is not based on the thousands of years of the human civilization, but beyond that with the mutuals understanding. When the rules have broken, the cracks begin to appear and it all ends after a series of turns in the tale. Predictable conclusion, but very much suitable and highly standard.

"Life is a collection of moments. The idea is to have as many good ones as you can."

Like most of the movies this one opened with a background narration about the situation of the man of the movie. Like how it all began, then in the first 15 minutes itself, there are many tiny twists on the line of development of the story carried on and introduces a few other characters along. But keeps the tidiness on one relationship throughout the movie and explores only a certain kind of atmosphere to focus everything on a single line.

If you don't believe in religion means not this is a celebratable movie for you or anyone who are like you. The contents were very sensitive, even for the atheists. It was a lot like the hippie culture, but only on the matter of the relationship, especially 'One life-One wife' angle. In some angles, it gives the assumption that it is a clash of two cultures. But I don't think that's a true, especially in the French perspective as the story takes place in NYC.

The movie is a debatable, but if you take the movie 'Hall Pass' on the account, this film's concept is not that apart. I have heard that in the rural China, the brothers marrying a same woman due to large gender imbalance in the country after one-child policy set by the communist party. So this is not a strange thing, at least for a few people. This film might be accepted merely on a certain the section of the audience, but it's only a matter of time to adapt and accepted by a large number. I don't know about the prostitutions, but definitely it will abolish cheating within the marriage.

"I think that there are two forces on earth you never want to be fighting. One is mother nature. The other is love."

It had a plenty of awesome lines. You know I collect the good ones from the movies I watch, so I had many pauses. It sentimentally strikes strongly, that means you can't wet your eyes, but can be felt in your deep heart. So romantically appealing beside the theme is uncomfortable for the current social lifestyle. The film is not about what's right and what's wrong, but giving commitment to the oath one has taken. Not to hurt anybody, even though you hurt by yourself from making a mistake.

But again, it's not either about mistakes, but respecting the individual's desire for what they think is keeping them happy. If you exclude religion from the social rule book, this film might make sense. I think this could be the film, the more it gets old and the future generation will think one of the advanced work regarding the lifestyle of that time.

Maybe this is an Anton Yelchin's best movie I have ever seen. Phenomenal performance along with the French actress who was so beautiful, especially her smiley expressions were what set a mood for the movie. Very handy supporting cameos by a couple of senior artists. I wanted Alivia Thirlby to stay longer, but she was another cameo like supporting character. Anyway, good to see her after a long time, though 'Dredd' came just a couple of years ago.

Like I mentioned, people see it with their own perspective on what they believe in. Does not matter what you believe in, but all I'm saying is it is a wonderful movie, so please keep aside your differences and watch it. Youngsters might show more interest in this than the old people, mainly, because in the last 50 years cultural lifestyle took a long leap forward by modernising and free to express.

There won't be any issue if you consider it a simple, but the atypical entertainment movie like hundred of others. Remember, it is a dark comedy as well, so often it filled with some fun scenes. I felt it was almost a masterpiece, but the fact is it is not, for being a non-traditional romantic drama is the reason behind to my consideration. Still, it is a must see film and I won't refuse that.

9/10

what a disappointment! after reading all these reviews! empty, disgustingly predictable, worst acting i ever saw, except for Olivia Thirlby. Even the music that was composed of few notes repeating themselves was cheap. I am a very sensitive person, women in my life always said that, and i cry when i see a crippled fly. and yet, nothing in this film made me feel any connection to anything on the screen. as a Jew, it really annoys me that a Jew wrote and directed this insensitive rubbish. Always thought that we are much better than this. hollow might describe this film perfectly. Made for the Emoji generation, fast paced and shallow.

Apparently, a movie, even without being non-fiction, it can make the life of the protagonist perfect in all sense. Anton Yelchin, who was amazing in Alpha Dog, now seems to not have a clue about acting. He overreacts in all corners, and unfortunately, for me, it stressed me the hell out. I would love to meet someday, a group of people, so balanced, ego-free, and totally sane, that they can have a complete and fulfilling life, even when they know they both have a side partner. I always try to identify the good aspects of the movie, the bright side if you will. I totally couldn't with this one. A paper thin plot, a pseudo smart narrative, and perfect nonsense circumstances for the main character. The only thing I learned about this movie is to make better choices when I get to go to the theater.

5 to 7 (2014)

Oh, right, this drip of a leading male glances across the street and sees a gorgeous girl and he wanders over and it turns out she's just possibly open to having an affair with him, but only from 5 to 7 each weekday because, you realize, she's married.

The movie takes this all quite seriously in a slightly stylized version of a Linklater film, filled with ordinary conversation as we get to know these two leads. This puts a lot of pressure on the writing, which is weak—the dialog is stilted and the overall narrative idea is stale.

The addition of older (better) actors later (Close and Langella) is of course helpful, but I still find the plot forced. I mean, an open marriage is an old and fertile idea for movies and literature (and life). But it can't just be laid out as if we've never encountered it before.

Can we say this is all artfully on purpose? That it's a style to appear a little lame all along, not reaching too high, making it ordinary? Maybe, but not here, not for me. A miserable experience.

I usually sample reviews across the spectrum to get a feel for the worthiness of a flick. I failed to do so last night, and fell for the exuberance of the first 3 gushing raters, who wrote of well-developed characters and other gems. Being in the mood for something French must have dulled my vigilance.

For a spot-on professional critique read Daniel Walber's (FilmSchoolRejects). I read it the following morning to confirm that it's not just me growing old and bitter.

If you are looking for a visually pleasing, mindless stream of bubbles to pass your evening - this movie may work for you. All scenery is nicely filmed; no argument there. However, if the thought of watching yet another episode of the lifestyles of rich & famous with no point to it whatsoever makes you noxious - don't do it! There are no characters in this movie, but there are plenty of cultural clichés that will make you puke; I promise.

I saw "5 to 7" last night at the Landmark E Street theatre in DC. I went into the movie with no expectations, other than knowing the producer's passion for story-telling, and penchant for eschewing conventional commercial movie formulas. I haven't seen an "art house" movie in a long time, or any "indies" either. For whatever reason, I assumed the movie would sit somewhere on the "rom com" spectrum.

I was right, but also very wrong. It captures a poignant, exquisite truth about a time that may have happened in your 20s, when you were still not fully formed emotionally and wondering if your quixotic choice of vocation was sound…when POW: a person comes along in your life who validates your path, opens your heart and changes you forever…for most of us, I expect, they leave your life, and are replaced by a cascade of episodes that mark your experience with life's most consequential milestones. But while no outward vestige of that person remains, they remain sacred and hidden in a private recess of your consciousness for the rest of your life.

This morning, after seeing the movie, I went to IMDb and read some of the online reviews. One writer commented that the movie is sentimental — not something that the Gen Xs, Ys or Zs will see…to which I reply: Who cares! Most of the people in the audience were in their 40s and older, slightly tipped in favor of women over men. I was fortunate to attend a screening where the producer and director led a Q&A afterwards. I was surprised that a disproportionate number of questions (all thoughtful) came from the men in the audience. This doesn't happen in your run-of-the-mill "chick flick".

I asked Vic about the evident cord he struck in male moviegoers. He's noticed it too. At every screening where he's given a Q&A, men will come up to him, and share their story of a quintessent early love that shaped their emotional landscape for the rest of their lives.

Too often, the emotional lives of men are cast aside. Most movies don't display emotional truths in the lives of men, or the emotions all of us can feel once our early adulthood becomes a "temps perdu". This movie honors these emotions. I wouldn't expect Gen Xs, Ys or Ys to get it.

My thanks extend to the filmmakers for bringing such a marvelous film to market. I'm now going to see more Indies.

GENRE: Drama LOCATION: NYC VENUE: Art-house Film Festival in NJ WRITER/DIRECTOR: Victor Levin STARS: Glenn Close, Frank Langella, Lambert Wilson, Anton Yelchin (Star Trek), Bérénice Marlohe (Skyfall) PLOT: Am. writer falls for Fr. married woman with children

SCRIPT: poorly written. Character conversations are cliché'. MUSIC: distracting: does not match the events of the movie. COSTUME DESIGN: meant to mirror "Breakfast at Tiffany's" CHARACTER DEVELOPMENT: happens fast; hard to digest any relationships develop at all. ACTING: our "STAR TREK" actor is not lead material. If there is acting going on, I did not see it, he simply reiterates words on a page at best. Our lead actress should stick to foreign films or playing BOND girls. If not for Glenn Close and Frank Langella's 5-7 minutes, all would be lost. The BEST scene occurs when the Lambert Wilson's character as the husband approaches the writer.

OPINION: Not a film for SMART audiences. Meant to drive an audience towards tenderness, it is sloppily edited bouncing from park benches in Central Park to deficient acting. This seems to have been someone's idea that actually got made into a movie and should have stayed in their head. The writer fails to allow the audience to think for themselves, overstating every sentiment within the film. This could have been achieved by "demonstrating" cultural differences. Even the sex scenes are undeveloped: lead actor unconvincingly getting his pants off.

Movie goers will be disappointed. It will not be of interest to any X, Y, or Z generations. It misses being anywhere close to mirroring "Breakfast at Tiffany's" if not for the costuming. The Trailer cherry picks the only few moments of the movie that have any depth. Don't bother with video on demand (VOD) when you can wait a month for it to come out on Netflix.

TRAILER: https://www.youtube.com/watch?v=9HimzZ6QG2o

It'd be a great movie if it's done by a rich kid from a film school with lots of money to hire these actors. A great example to show that putting nice faces and landscapes together won't make a good movie. The lines are too predictable, and the visual is just mediocre (tell me it's all shot with an iPhone). I asked why it's such a self indulging masturbation. And the answer is here (on iMDb). Directed by the writer. Too much ego. No one probably wanted to direct it or be kind to let him know it's a total crap.

Without a doubt, BM makes the best muse any man could dream up. And yes, it is completely a rom-com fairytale... but a very well written, acted, and produced one as far as the genre goes. As implausible as it all actually is.. it has an irresistibility about it that draws you in, and even with a bit of awkwardness just past the middle of the film, it recovers and dishes out a reasonable ending. Berenice Marlohe subtly fills the screen with her beauty and charm (as casting choice, she works dead-on.. not totally sold on him). Looking at some of her images on bing she has the power to overwhelm the lens, but here in this movie, it's downplayed, and the production benefits. This is a well thought out and well made little film, and in a field that usually includes mostly stuff bordering on unwatchable, it's refreshing to find one might be worth watching again sometime.

Best part about the movie was the plot device of the open relationship between the diplomat and his wife. That was intriguing and new-ish. There was some smart dialog, mostly coming from Arielle.

Worst part was the casting of the leads. There was no believable chemistry between Arielle and Brian, no reason why a worldly beautiful woman like her would be attracted to such a mopey immature young man.

This is another in a long line of movies where we are expected to take it on faith that an extraordinary woman would lose herself to a completely unremarkable man.

There were plenty of other little problems as well, like unnecessary points of confusion that suggested a lot of hacking in the editing room.

I had no idea what a great movie this would be. Or how good Anton Yelchin actually (already) was, as an actor. This is the best romantic movie that I've seen for several years, with incredible dialogues. It is so rich, in so many ways, combining wisdom, life experience and humor. Nothing but love for this one.