Pluskylang Great Film overall

Moustroll Good movie but grossly overrated

Forumrxes Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

gradyharp Producer, director, writer Marc Forster is best known for directing the films Monster's Ball, Finding Neverland, The Kite Runner, Quantum of Solace and World War Z wrote this screenplay with Sean Conway (TV series Ray Donavan and Shameless). ALL I SEE IS YOU is a theme with challenge to any writer: these tow men almost meet that challenge but seem to get lost in the process. The result is a very long, tedious, cinematographer's holiday (Matthias Koenigswieser) about the world we see and the world we don't see. Despite the presence of some fine actors the film is tedious and loses the audience after about thirty minutes of blurry (but colorful!) versions of the world passing by the eyes of a blind girl. Apparently blinded since childhood when a hideous car-crash cost her her parents and her eyesight (a fact that is never explained - we must guess that is the case), beautiful Gina (Blake Lively) scarcely leaves their home in Bangkok, Thailand and is dependent on her attentive and doting husband, James (Jason Clark), who is her everything: her protector, her guide, and the sole intermediary with the outside world and who has never known the sighted Gina, and wants to make a baby. Medicine intervenes, a cutting-edge but highly experimental cornea transplant By one Dr. Hughes (Danny Huston) promises to restore Gina's vision, at least to her right eye--and when the bandages come off all of a sudden unexplored colors and senses begin to appear to her. But she is dependent on steroid drops in her eyes to assure the transplant takes. As a result, Gina will see her husband and her unknown reflection in the mirror for the first time, she befriends an unwanted dog, makes friends with dog walker cum sensual interest (Wes Chatham), and with time and some distance from James and an odd visit to her Barcelona sister Carla (Ahna O'Reilly) and her artsy husband Ramon (Miquel Fernández) Gina becomes pregnant (though James has discovered he is sterile!), and her vision is altered again - the reason is only suggested. And then the film ends.Chunks of the story are missing (?intentionally?) and the constant cinematic version of the world through near blind eyes becomes as tiring to the audience as it must to the patient with altered eyesight. There are some odd sidebars of Gina playing the guitar with a young girl, surreal shots of Bangkok, strange S&M scenes unexplained that keep our attention at times. The concept regarding blindness and how it affects the victim are sound. It is the delivery of the 'story' that begs editing.

alex-hornby I went into this film blind (pun intended) not really knowing much about it at all, but needing something 'romantic' from Netlix for a Saturday afternoon. Blake Lively is always interesting to me whether in engaging dramas like Age of Adeline or in engaging nonsense such as The Shallows. It's immediately interesting and the opening images arresting: a kaleidoscope of bodies, a couple in the throes of passion, silken sheets and milky skies - beautifully blended. The images make sense when we discover that Lively's character Gina, is blind - was blinded in a car accident that killed her parents. Her husband, James, dotes on her, caters for her every need, spoils her - he seems quietly, perhaps subconsciously grateful for the position of power their situation puts him in. The first 30 minutes knits together the confusion and frustration of Gina's everyday life perfectly sometimes taking us behind her eyes to experience the lights and the shapes that Gina can almost see as we follow her to the pool, teaching guitar, and to the doctors where she is told that a transplant is possible. The mood shifts dramatically when Gina regains partial sight. She gets a new lease of life. She soaks everything in. She wants to experience everything she's been missing. Gina is ecstatic in her new found sense - on a trip to Spain to visit her sister, she begins to shrug off the old Gina and starts to transform, sexing up her wardrobe, starting to wear makeup, almost purposefully seeking out moments to excite and arouse her. James starts to think that he won't be enough for her and indeed the things she took for granted are not what she expected and not necessarily what she wants.Whilst what follows is definitely psychological, and in part thrilling, this is very much a study of a relationship on the precipice and the extremes we'll go to when cornered or desperate. Gina realises that life has options, and James will do anything he can to try and limit them, to salvage what they have. I found this film incredibly satisfying. I found the union of Gina and James, the transition to a new way of living, Gina's effervescence for her new life and James's acute anxiety that he is about to lose everything really believable. There's a real tension and it's all played beautifully and naturally. There's a moment (a millisecond) near the end where it veers towards melodrama, and even though not the romantic comedy I was looking for, was a film I'm definitely glad I've seen.

bricslove First off, I don't see any problems with the pacing, the visuals, or the music in the movie. All were fine and in fact, although the ending felt a bit rushed, it was not just meaningful but also artistic without being pretentious.I agree, however, with some of the reviewers that it more falls into the drama genre than thriller. I have a brief moment of disappointment with good flicks that are categorized wrong, but that's about it.Now... My character analysis is somewhere between the spectrum of views from the reviewers.The movie does not clearly hint at any possibility that Clarke's character specifically went out to find someone permanently vulnerable to marry, due to a handicap. When you extrapolate the characters into the past, perhaps some of the audience would say that is very likely. Understandably so, as there are many people who actually feel so insecure as to purposely marry totally dependent partners. The problem in the movie is, though, Lively's character doesn't waste time to confirm her husband's fears, and denies it when confronted.It would be only natural for her to change her looks following the operation- she had to see herself first to know what she wanted to look like.That was not what troubled the husband. It could have been, in other cases, but the movie tells us that it is not.What critically troubled the husband was that scene on the train that he kept replaying, closing up on his wife's face as she thought no one was watching.Also the realizations: 1. she lied about the man in the park 2. she said she was pregnant, without knowing her husband was sterile.Whereas he could confront her and file a divorce or give her a second chance, the husband hatched a wicked plan to have her blind self back, failing to accept the fact that newly gained eyesight would make one discover more about oneself and have preferences with things one had no way of deciding before. As Gina said: "we don't know who me is." This was the problem. The husband could only get to know this new wife as fast as she could get to know more of herself. This problem was not mutually shared, as the wife had understandably welcomed the changes with delight.Said another way, changes happen faster than the husband is able to let sink in and upon realizing that he is losing his wife, he tries to reverse the process back to when he knows she would need him, therefore would keep him, as if he can make her unsee things, rewind time. So he tries to actually blind her. That is how mentally sick he has become. As the wife is singing this song on stage from a time when she was blind and all she saw was him, and staring straight in his eyes all the time... there's this silent conversation via exchanges of gazes of how she used to love him, how she could still see and knew what he had been up to, and how he ruined it all. He gets the messages, walks out on her and jumps in his car, and, absorbed in a very emotionally intense session of self-introspection and judgment while driving, ends up in a fatal accident.A life ends as a new one begins. Things move on, one way or another. If he had thought about it before the operation he could prepare and therefore grant himself "the serenity to accept the things he cannot change".I loved almost everything about the movie without the need to root for either of these two characters who had become very realistically unlikable as the movie proceeded. I respect this in a movie. A cold but sincere little flick.

evalaw This is a really good film. I really really loved it and I don't get all the negative reviews. I didn't get bored at all and it totally made sense from the beginning till the end. That being said, it's not for everyone. You have to be a little bit more mature and have had serious relationships in the past to understand it. It evolves more around Gina and James' marriage and its evolution after she restores her sight and tries to find her true self, now that she has the power to choose her clothes, make up, hobbies etc. You can see the characters evolve in front of your eyes in an absolutely realistic way, you can even relate to them, feel their agony, theis fears and understand their actions. Blake Lively shines in this film. She's more charming han ever. Jason's lark performance is very nice too. After all, I think James' (Jason Clarks') evolution and reactions in the film are the most interesting part of all.