AniInterview Sorry, this movie sucks

Smartorhypo Highly Overrated But Still Good

Matialth Good concept, poorly executed.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Cinish Narayanan Hawaii,Oslo - Norwegian The best movie I have seen this year so far. This one was a very special , a very unique ethereal experience. I can feel my head cool and relaxed due to the blood flowing inside I guess. The movie was at the same intriguing , spiritual , hopeful , emotional.The script has as much content to extract five six movies out and I am surprised I don't see many awards linked to this movie on the DVD cover. It is about people placed in very very delicate situations and then things turning over magically. There is a father whose new-born son would die in a few hours as he is incapable of sustaining without the umbilical chord.The solution is to create an umbilical chord and fix back and the doctors have written off as impossible. The father does not give up and holds the straw of a private clinic operation at the huge cost of 900,000 Kronas that he cannot manage and he sells off everything and is about to attempt a bank robbery when another character in the movie robs the bank just before.The most joyous moment for me was when he sits dejected and one of the robber brothers, who runs away from the robbery .... edited to not reveal one of the many suspenses that the movie offers There is Leon who runs whenever he is not sure what to do next. The first scene of the movie is a dream that Jiddar(Leon's friend) sees and whatever he sees tends to be true. So he gets worried and tries to prevent the mishaps. The story goes through various situations where incident after incident, things turn positive and starts to move more and more away from the dream until the end when the first scene is repeated as it is. The movie is brilliantly engineered and has a lot of beauty to it. Lot of troubled lives trapped in cities. I would think that lot of the trouble would go off if people live together. A lady takes pills to suicide and is saved by a note message that one of her sons who has not seen each her in eleven years sends through a paper-girl. There is the plot of the robber brother who is given parole to meet Leon on his birthday.I started off by seeing this as a sweet gesture where as quickly a deep plan unfolds. The movie is rich. In story , in emotion , in acting , in direction - perfect control and an awesome awesome ride.

isenje The film "Hawaii, Oslo" is staged within 24 hours on a hot summer day in Oslo, the capital of Norway. It consists of several stories that are loosely connected to each other, creating a multi-plot.In the beginning of the film, one of the main characters, Vidar, has a dream where his friend (and patient) Leon is hit by an ambulance in an accident. He believes the dream is a premonition, and throughout the film he tries to prevent it from coming true. Whilst doing this, he meets the characters from the other stories portrayed in the film. Among those are two parents trying to cope with their newborn child's serious heart disease, two brothers in desperation after the loss of their father and a man hoping to meet up with his childhood love, several years after their last encounter.Hawaii, Oslo is not the typical romantic movie, but it's still a movie that is mainly about love. It portrays different types of love, such as brotherly love, parental love and romantic love, and shows the sacrifices we are prepared to make for love. All the characters in the movie are faced with difficult choices, and the film follows them in their path towards making their decisions.I really liked this film. The stories were tied together in an original way (especially with the use of the kaleidoscope), the music fit well with the pictures, and the director has succeeded in creating an atmosphere of pressing heat, which intensifies the action. However, I found it hard to decide whether the breaches to the film's realism worked well with the film's stories or not.All in all, I would strongly recommend seeing "Hawaii, Oslo", which is the second film in director Erik Poppe's so-called "Oslo-trilogy", also consisting of the films "Schpaa" ("Bunch of five") and his newest film, "DeUSYNLIGE" ("Troubled water"). These three films all take place in the capital of Norway, and have sacrifice as a major theme. So if you liked "Hawaii, Oslo", you should see "DeUSYNLIGE" as well.

zep719 Director Erik Poppe presents a sophisticated and theme-oriented film that portrays love and desperation in a genuine fashion. In addition, Poppe succeeds in supplying a unique perspective of the nature of fate and divine influence. "Hawaii, Oslo" is a tale of a handful of people whose lives quickly become interconnected. The film follows Leon (Jan Gunnar Røise), a young patient in a mental institution, who is awaiting the arrival of Åsa (Evy Kasseth Røsten), a childhood friend. The two had agreed ten years earlier to meet on his 25th birthday and get married if both had remained single. Vidar (Trond Espen Seim), an orderly at the institution, is Leon's compassionate caregiver, whose tragic dreams foretell the future. Mikkel (Benjamin Lønne Røsler) and Magne (Ferdinand Falsen Hiis) are two young boys forced to look after themselves following the recent death of their father. Frode (Stig Henrik Hoff) and Milla (Silje Torp Færavaag) are proud new parents whose happiness turns to grief as they learn their newborn son has a rare heart defect. He only has a few days to live unless his parents can find enough money for a procedure in America. Bobbie-Pop (Petronella Barker), a fading singer, is introduced during her attempted suicide. Trygve (Aksel Hennie), Leon's brother, uses his twelve-hour leave from jail to celebrate Leon's birthday, a celebration that is also part of Trygve's prison escape plan. The paths of each character begin to cross as Vidar frantically searches for Leon following a dream that predicts Leon's sudden death. The film is built upon multiple themes, but love and its convergence with desperation, create the foundation. Love is portrayed in multiple forms within the film. The love between Leon and Åsa, with youthful origins, is pure and resilient, withstanding years of separation. This love is a driving force for Leon throughout the film, sending him running to the bar, Hawaii, to meet Åsa. Mikkel's tough love for his brother Magne is evident in their interaction. Mikkel's snide remarks and quarrels with Magne are not uncommon for a brotherly relationship, even without the stress of recent loss and loneliness they are living with. Mikkel's anger is largely brought on by his fear of separation from his younger brother, displaying the underlying love between them. Frode's love for his newborn son is made clear in his desperation. Frode exhausts all means of acquiring funds for his son's procedure, including the sale of all his possessions. Trygve's love for Leon, though implicitly expressed, is undermined by Trygve's choice to ignore Leon's desire to reunite with Åsa, favoring their joint escape out of the country. Trygve's desire for, or even love of freedom is strong enough to prompt him to break the trust of those closest to him and commit an armed robbery out of desperation. Vidar's love for Leon strongly resembles that of a father. Evidence of Vidar's compassion is seen in the early scenes as he prepares Leon for bed, as well as Vidar's exchange outside of the bar, Hawaii. The reciprocal of this love is displayed most prominently in the film's final scene, adding greatly to the scene's emotional effect. Love and desperation are portrayed powerfully, yet realistically. Both Frode and Trygve's desperation is raw and unrestrained, which is accurate considering their situations. Love in the film is natural and unidealized, creating a more relevant and true to life image of love. The authenticity of love and desperation is complemented by both a simplistic filming style and soundtrack. A number of scenes are shot without the use of a tripod, allowing for a more natural perspective of the scene. The soundtrack is simple and tasteful. The use of kaleidoscope scene transitions is quite clever, and highlights the interconnected nature of the characters in the story; the images in the kaleidoscope are unique, but part of the same system just as the characters are independent, but ultimately intertwined. Together, the filming techniques, transitions and soundtrack create a unique and favorable aesthetic. The portrayal of the nature of fate and divine influence is also a unique aspect of "Hawaii, Oslo." Vidar's character is perhaps the most complex in the film. Poppe presents a number of visual and spoken clues as to the true role of Vidar. His ability to foresee events while dreaming is evidence towards divine influence. Vidar has knowledge of Mikkel and Magne's father's death, without any connection to the brothers. Leon refers to him as his "guardian angel" and the white feathers that appear with Vidar in the opening and closing scenes suggest Vidar is an angelic figure. The paper girl is also presented as a divine figure. Near the end of the film, Vidar addresses her saying, "You aren't who you say you are." She responds, "Neither are you." This exchange suggests that both the girl and Vidar serve similar roles. Vidar and the girl have a crucial role in the portrayal of the nature of fate. Every character severely lacks control of his or her fate, despite the effort he or she contributes. It is only when a divine figure intervenes that the individual's desired outcome is achieved. In Leon's case, Vidar keeps him from fleeing the bar after he initially meets Åsa. It is the paper girl's hug that finally allows Mikkel to accept Bobbie into his life. And it is Vidar who takes Leon's place as the victim in the accident. Poppe presents this idea of fate and divine influence without being overbearing. "Hawaii, Oslo" provides a powerful and fresh film-going experience. The film successfully examines the nature of love, desperation, fate, and divine influence through a unique film aesthetic. Poppe depicts love and desperation in an unromanticized and life-like fashion. Fate and divine influence are examined, though subtly, leaving the final interpretation up to the audience.

sashamalchik I have to agree with those who were disappointed with this movie.In fact, it was one of the bigger disappointments of many films I've seen at the last SFIFF. I understand, the director (or script writer, for that matter) have the right to borrow from earlier movies and create on the basis of their associations something new, something of their own. But this was just too much. Practically everything that this movie is based on we've already seen. Multiple times - and, made much better, too! (Thinking of "13 Conversations About One Thing", for example.) Unfortunately, this movie said nothing new, and, trying really hard to touch emotionally, only managed to stay clear of actually accomplishing that.