Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Cheryl A clunky actioner with a handful of cool moments.

blrnani Basically, it's better to have loved and lost than never to have loved at all. Although the focus is mainly on the rather disturbed (and I won't say harmless, because in typical American male fashion he readily resorts to violence as a way to resolve his problems) Enoch, the story is driven by Annabel, a vivacious young girl with a sad secret. That they are both good for one another is undeniable, even for Annabel's protective (but not overly so) older sister. I wasn't sure how Hiroshi fitted into this until the end, and that realisation added much to the depth of the film. I won't say any more to avoid spoiling the journey for others.

souledonmusic " I've read a ton of patronizing and harsh reviews of this film that nearly dissuaded me from seeing it. From the very beginning, it seems the viewer has a distinct choice to make: filter the entirety of the film though the lens of reality/cynicism, OR embark on a visceral journey back to a time and emotional space of innocence lost. From a purely pragmatic point of view, this movie amounts to little more than over-dramatized emotional drivel: the cinematic equivalent of the most-maudlin-ever Morrissey record being played on infinite loop. However, if you choose to return to the space of innocence lost, you will no doubt be invited to recall the many dark, magical, and brooding charms of adolescence. You'll remember falling in love for the first time; the ways in which you conceptualized and romanticized death; your growing estrangement from your family...and well, maybe even your first Smiths record. When experienced as a multi- faceted coming-of-age metaphor, this film resonates deeply without trying too hard to create a pseudo-sense of nostalgia. If you: 1) are a grumpy adult 2) never wrote a poem just for the hell of it and/or 3) have always secretly wanted to donkey-punch Morrissey, you may dislike...or even loathe...everything about this film.

Hairul Fariz Just like the tragic characters in the story, I went into the movie with such hope only to realize that the story is as dead as Annabel would soon be.It's a story about a boy, struggling to come to terms with his parent's recent death. Enter the sprightly girl who saves him from getting caught for crashing a stranger's funeral. Predictably, the two fall in love and a seemingly endless montage of young love ensues. Calling the whole love affair sweet would be an understatement that even diabetics would balk at. The story holds no surprising twists- although with each scene involving Hiroshi, you'll find yourself constantly re-drawing the lines separating reality and psychosis and then realizing you just don't care enough to bother anymore- and with no real revelations. They even fail to give any sort of insight into the realities of cancer. Cancer doesn't give you leave to frolic in endless wonderment of the world around you and it certainly doesn't put you in the mood for Halloween and a midnight snack after, it leaves you hunched over the toilet retching your insides out and reaching for morphine while people watch over you and tell you how amazingly strong you are. This movie is just a slap in the face for anyone who has cancer or knows someone with cancer. Rather than creating hope for those unfortunate enough to live with the curse of cancer, it makes them feel terrible by grinding this improbable romance in their faces.To top it all off, the protagonist comes off as a whiny, pre-pubescent little brat who is at best unlikable and at worst completely intolerable. More than once I caught myself cringing at his delivery until at last I gave up and walked away for a much needed break from his incongruous grinning and rock-throwing. (Also, the make-out sessions were simply uncomfortable to watch; which in fairness is only half his fault.)The only saving grace to this whole movie is the superb acting of Mia and how beautifully her grace and dignity was captured on-screen. Unfortunately, none of that is enough justification to watch this pointless and disastrous portrayal of the final moments of a girl waiting for her end.

jm10701 I hate giving any movie by Gus Van Sant a bad review, because he is one of the VERY few Americans who is capable of making truly great movies. (I even loved Last Days.) But - unfortunately for movie lovers - he has bills to pay, and his best movies are never blockbusters. So sometimes, just for the money, he takes on crap that is beyond even his ability to turn into a watchable movie.The two stars of this one - and the tiresome screenplay - are just too irritating to watch. I wanted to punch Henry Hopper in the nose every time the camera looked his way, and when Mia Wasikowska launched into her moronic, nasal paean to Charles Darwin I felt like puking. It amazes me that the genius who made Mala Noche and Elephant - and the lovely bit in Paris Je T'aime with Gaspard Ulliel - wasted his time on this turkey.