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My Blueberry Nights (The Miriam Collection)

61 customer reviews

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My Blueberry Nights (The Miriam Collection) + 2046 + In the Mood for Love (The Criterion Collection)
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Editorial Reviews

Oscar® nominee* Jude Law (The Talented Mr. Ripley, Cold Mountain) and Grammy® Award-winning singer Norah Jones star in this "ravishing triumph... [of] pure romantic sensibility" (Armond White, New York Press). Law plays a big-hearted owner of a small New York diner who tries to soothe Jones' jilted heart with his blueberry pie. But only after going on a year-long cross-country odyssey does she realize love was right at her doorstep all along. Gorgeously filmed by award-winning director Wong Kar Wai (In The Mood For Love) and featuring Oscar® winner** Rachel Weisz (The Constant Gardener) and Oscar® nominees*** Natalie Portman (Closer, Garden State) and David Strathairn (Good Night, and Good Luck), My Blueberry Nights is an optimistic ode to love and "one of the best movies of the year!" (Andrew Sarris, New York Observer).

Special Features

None.

Product Details

  • Actors: Norah Jones, Jude Law, Natalie Portman, Chad R. Davis, Katya Blumenberg
  • Directors: Kar Wai Wong
  • Writers: Kar Wai Wong, Lawrence Block
  • Producers: Kar Wai Wong, Abazar Khayami, Jacky Yee Wah Pang, Pamela Thur, Stéphane Kooshmanian
  • Format: Multiple Formats, Color, NTSC, Subtitled, Widescreen
  • Language: English
  • Subtitles: Spanish
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • Rated: PG-13 (Parental Guidance Suggested)
  • Studio: Weinstein Company
  • DVD Release Date: July 1, 2008
  • Run Time: 95 minutes
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (61 customer reviews)
  • ASIN: B0016MJ6HY
  • Amazon Best Sellers Rank: #52,105 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "My Blueberry Nights (The Miriam Collection)" on IMDb

Customer Reviews

Most Helpful Customer Reviews

20 of 24 people found the following review helpful By Andrew Ellington VINE VOICE on August 8, 2008
Format: DVD
I really wanted to like this movie. I remember when the buzz surrounding this movie started flooding in during the beginning of 2007 and everyone was predicting it for all kinds of awards beings that it was Kar Wai Wong's first English language film and the casting of singer songwriter Norah Jones in the lead role was particularly interesting. I waited patiently for the buzz to turn into full-fledged madness but it seemed as if no sooner did the buzz begin then the buzz died and before I knew it the film wasn't even being released for a wide release and I had to wait until it was available on DVD before I could see it. Regardless of the fact that it managed only one nomination (at Cannes mind you) I still really wanted to see this film, and so I did, and now that Cannes nomination baffles me, because `My Blueberry Nights' is very disappointing.

`My Blueberry Nights' gets off to a sour start. In fact for the first twenty minutes or so absolutely nothing happens. We see Elizabeth, a frantic stalker-type ex-girlfriend going in and out of a bakery where she continues to ask the owner Jeremy if he has seen the man she was last in there with and they eat some pie and she watches some surveillance videos and cries and she gives him her keys to give to her ex and then she picks up and leaves town. I know that sounds like a lot, but it's not when you watch it. It's slow moving and rather vapid.

In fact the whole movie feels rather vapid.

There are a lot of critics who talk about Kar Wai Wong's infatuation with lovesickness, but I really didn't gather that here. I saw glimpses of it, sure, but overall the feeling I was left with was more empty than fulfilled.
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8 of 9 people found the following review helpful By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on July 4, 2008
Format: DVD
Kar Wai Wong is as much a visual artist as a film director and his forté has always been making beautiful, multileveled images on a screen that is trying to see clearly the outlines of character development. Such is the case in his first English language film MY BLUEBERRY NIGHTS, a creation he wrote (with Lawrence Block) as well as directed. While the 'story' boasts a cast of fine actors, the emphasis seems less on character delineation than on creating a cinematic stream of consciousness.

A New York Russian bakery/café is operated by immigrant Jeremy (Jude Law) and into this milieu comes the newly jilted Elizabeth (Norah Jones - who also provides much of he sound track singing for the film). She leaves her boyfriend's keys with Jeremy as a sign of resignation but continues to nightly check to see if her ex-boyfriend has shown up to claim them. This is the premise for the formation of a bond between Jeremy and Elizabeth, but without solidifying that bond, Elizabeth runs off to greener pastures. She settles in Tennessee where she finds work as both a waitress and a bar maid and meets the down and out alcoholic policeman Arlo (David Strathairn) who pines away for his tacky, gallivanting wife Sue Lynne (Rachel Weisz). Leaving that story piece unresolved, Elizabeth then moves to Las Vegas where she becomes friends with a young, loser gambler Leslie (Natalie Portman) who manages to waste Elizabeth's savings for a car on yet another misjudged gambling night. Through this cavalcade of losers Elizabeth continues to write postcards to Jeremy and the ending is blatantly predictable.

There are some moments of memorable dialog: 'Sometimes, even if you have the keys those doors still can't be opened. Can they?
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40 of 53 people found the following review helpful By Luca Graziuso and Marina Ross on July 17, 2008
Format: DVD
There is much in Wong Kar-Wai's first all English production to admire, but the cast, the dialogue, and the translation of Asian aesthetics unto accent-dimmed performances is so pronounced we have no option but to enjoy the movie solely for its artistic merit while lamenting its prosaic shortcomings. The usual antics and brilliance of the director are all deployed to a whimsical effectiveness, if sometimes deliberately indulged. The usual close-ups and askance visual is present frame after frame, with opaque intrusions, slantwise peering, obstructed lavishness, and aided by the diner/pub setting the movie is infused with neon latency. In fact the plot is simple and very bleak. Action hardly ever takes place during the day, save for the occasional interlude which seems to be a way to mark as pronounced the comparative glare that the night offers. At times we have the camera slide its intensity along a bar or a table, stolidly stuck on a fork pricking through a slice of pie, or meandering about the outskirts of a bar, column after column, shadows crawling senselessly through a disorderly tension that seems innocent enough to hide behind the crevices of our visual. Overall the very Asian aesthetic quality of the camerawork tellingly foreshadows a candor that has us become voyeurs more so than spectators. In Asian culture it is best not to invade one's private space and here it is carried out to such beauty that it offers a sense of indiscreet respect.
Where the movie falters however is in its casting, of which some are excellent artists used in a middling unfortunate fashion. Jude Law and Natalie Portman are sensational actors but oddly cast in the drama. Their intensity is unique but too forceful for the narrative introspective layover. The graceful Norah Jones is very mediocre.
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