WasAnnon Slow pace in the most part of the movie.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Jae Blakney The opening shot thrilled me—for a rather personal reason. I recognized the scene as the one that's been fascinating my brother and me since we were kids. It's an old stone barn we used to drive past on the way to visit our grandfather.After admiring the barn, I realized that nothing was really happening. Nothing much, anyway. I waited while the movie's dawn turned to daylight around the barn and the morning mists burned off. I began to wish I hadn't bought it.But it gets better. We meet a man named Finn (David Strathairn) and watch as he tells his wife he's going away. Finn seems to be tortured and have a driving need to search for some sort of answer. His message is ambiguous and almost confusing--as it should be.In another scene, two guys come together to wash cars, and they're discussing the fact that one is working and the other is not. But there are three guys there, and the third one isn't working, either. And he's wearing a suit. I wondered why. And I wondered why, in the age of the internet, Finn decides to go-to-door selling encyclopedias.Eventually I learned that the third guy is a ghost. It's not that this is a 'paranormal' movie. It's just that Finn's burden of unresolved tragedy is as real to him as any physical presence could be. The people around him can't see the ghost—most of them, anyway. What they can see, can touch, are the encyclopedias.Finn is not glamorous. He's not fabulous. He's not even successful or collected or sexy, at least in the classic sense. He's real. In fact, he's so real, so imperfect, so nakedly human that I relate to him. I identify. I feel."The Sensation of Sight" contains no pat answers. It depicts life, complete with anxieties and uncertainties. But it leaves us with a sense that we need not be its victims: we can be its participants.

johnwaynebosley American cinema doesn't have a history of taking risks. Instead it likes to put movies out into the public like cars on an assembly line. Same car, same make. They just change up the details. What the writer/director does in TSOS is to take risks and take on some difficult issues. Instead of having the actors explain everything as we're going along, he takes the risk of allowing the film to develop on its own.If you go to watch a film made from Hollywood you might get that "wow" effect... but what about the second, third, fourth time? Do you get more out of each time? Or do you just find the same? With TSOS it's more like a play or novel. There are enough layers that you don't completely understand the story in its full extent until you watch it over and over again. It's like strong medicine and some of the weaker critics who only like "fluff films" and "cheap entertainment experiences" won't appreciate what this film has to offer.

Beon A very deft and competent work given the experience and budget of the production team. The script didn't seem all that easy to work with, but a fine group of actors seemed to find it's pitch and pace. Coupled with a sweet little soundtrack, it triggered a few Hal Hartley flashbacks. Not that there's anything wrong with that. The photography really was extraordinary. A very complete palette was found in some fairly mundane locations creating an effect that was at times both rich and bleak simultaneously, somewhat like a Russell Banks short story. Not that there's anything wrong with that either. Frankly there's not much wrong with this film at all and it should stand up well when viewed a few times.

enedzel I saw Sensation of Sight on Friday night at the Denver Film Festival. I thought it was a very good film with an excellent ensemble cast. The audience at the screening gave a round of applause and seemed to have a very positive reaction. The story realistically portrays a small circle of people struggling to communicate their feelings of grief and loss, although there is a nice touch of the mystical as well. The first time writer and director, Aaron Wiederspahn was there and spoke at the screening along with David Strathairn, Scott Wilson, Ian Somerhalder, Ann Cusack, Elisabeth Waterson and Joseph Mazzello. The cast unanimously spoke well of the director and their experience making the film. They all stayed at the same bed and breakfast shown in the movie and shot it in 18 days; true independent film making.