Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness.
There was a problem filtering reviews right now. Please try again later.
Other reviewers describe the plot etc., but this movie is a surreal marvel of cinematic technique, as well. The movie is shot in the "full frame" aspect ratio of old TV; the camera spends much of its time fully, closely focused on faces, rendering them as talking, emotional portraits. The aspect ratio prevents distraction from the intimacy of the faces of a wider view that includes background -- here, the faces literally and figuratively tell the story. When the camera does pull back, its viewing angles seem to turn waves of emotion into refined and conscious points of view. Music of Beethoven and Prokofieff highlight the score. Xavier Dolan is a remarkable dude.
i was not sure, still not, about this film. Borders almost as an "epic" with its length and many scenes. One thing I d know, is that I felt so sad for the actress and her emotional roller coaster, and the last few minutes of film had me in tears. Their meeting at the end of the beginning was two very attractive people who had no idea what they were in for, as in real life for all humans.
4.0 out of 5 stars"Epic, imaginative and remarkable..."
Reviewed in the United Kingdom on November 15, 2013
Québécois actor, screenwriter and director Xavier Dolan`s third feature film which he wrote, premiered in the Un Certain Regard section at the 65th Cannes International Film Festival in 2012, was screened in the Special Presentations section at the 37th Toronto International Film Festival in 2012 and is a France-Canada co-production which was shot on locations in Canada, USA and France and produced by producers Charles Gillibert, Nathanaël Karmitz and Lyse Lafontaine. It tells the story about Laurence Alia, a literature teacher and writer in his mid-30s who lives with his girlfriend Fred in Montreal. Laurence has always and secretly felt like a woman living in a man`s body, but when he tells Fred that he is a transsexual and intends to become a woman, she is confronted with a truth that alters her view on him and their relationship.
Distinctly and precisely directed by Québécois filmmaker Xavier Dolan, this finely paced fictional tale which is narrated from the two main characters viewpoints, draws an involving and multifaceted portrayal of a man`s struggle towards becoming a complete person and a woman`s struggle to come to terms with the fact that the man she loves isn`t the man she thought he was and that he has decided to have a sex-change. While notable for its colorful milieu depictions, sterling production design by Canadian production designer Anne Pritchard, cinematography by cinematographer Yves Bélanger, fine costume design and editing by Xavier Dolan, make-up, use of colors, use of music and versatile style of filmmaking, this character-driven, narrative-driven and conversational story about identity and being accepted for who one really is, depicts two interrelated studies of character and contains a great score by the Canadian band NOIA.
This romantic, humorous, dramatic and atmospheric pop-culture drama which is set mostly in Montreal during the late 1980s and 1990s and which affectively evokes it`s period, is impelled and reinforced by its cogent narrative structure, substantial character development, quick-witted dialog, various characters, multiple perspectives, the prominent acting performances by French actor Melvil Poupaud, Canadian actress Suzanne Clément and the fine supporting acting performances by French actress Nathalie Baye and Canadian actress Monia Chokri. An epic, imaginative and remarkable love-story which encourages open-mindedness, confirms the vitality and importance of cinema as a visual art form and which gained, among several other awards, the award for Best Canadian Feature at the 37th Toronto Film Festival in 2012.
5.0 out of 5 starsDazzling and disturbing, hard to watch but astonishingly original
Reviewed in the United Kingdom on March 31, 2013
This is a strong, disconcerting, highly unconventional movie that is not easy to review, or to watch. Although it is the story of a transgender experience and how it affects existing relationships, it is much more than that.
The movie is so strong and so complex--and so long--that I'm reluctant to say much more about it, partly because I don't know much else to say about it now. I'll need to watch it at least one more time before I'm ready even to think about doing that. I can say, though, that anyone expecting a love story about attractive and sympathetic characters will be severely disappointed and probably angry.
Anyone expecting a positive account of what it's like to change gender identity will probably be disappointed too. Anyone who needs the orderly development of a story and the relatable characters that are essential in Hollywood movies will be furious after having sat through these nearly three hours of VERY unconventional and challenging movie-making.
Finally, anyone who enjoys picking a movie apart and saying what he or she would do to make it better--eliminate peripheral characters, cut an hour off the movie's length, etc--will have a field day with this one. Unfortunately for them (and for anyone who takes what they say seriously), they will have denied themselves most of what this remarkable movie offers them.
The only way to receive what a movie (or any other work of art) offers is to accept it AS IT IS, on its own terms, WITHOUT trying to analyze it or change it to fit some outside notion ("outside" meaning in YOUR mind, as opposed to the author's) of what it OUGHT to be.
Instead of trying to make this (or any other) movie "better", either make your own movie or let go of your compulsion to control what happens to you as you watch this one. If you don't like the experience, that's fine, but if you really believe you could have done it better, you're a fool. You're impressing (and cheating) nobody but yourself and anybody else who takes you seriously.
But anyone who wants to see the latest work of an extraordinarily gifted and original young artist (Xavier Dolan, who is not yet 25 years old), whose genius is exploding into the world with such power and such speed that even he probably can't explain everything he does--and is willing to let go, to give up control of the experience and see what DOLAN is showing you instead of what you want to see--will be changed by this astonishing movie.
3.0 out of 5 starscertainly packs a visual punch, but not much more
Reviewed in the United Kingdom on January 17, 2014
I found Laurence Anyways rather less enjoyable than other reviewers here, even though it is clearly a radical contribution to film. It comes across like a cross between David LaChapelle's outre photography and John Cassavetes's one-on-one intensity, with certain scenes played out at length with a seemingly improvised fierceness. Some of these are over-the-top, and it seems to eschew the most obvious way of approaching the transgender theme, which would be a psychological study. Xavier Dolan rejects all that and goes all out for an in-the-moment visual trip of a film, where every moment is played for maximum impact and a kind of disconnectedness from everyday reality. It would be impossible, in most scenes, to say what time of day it was, or where you are in terms of a city or town's specific topography (it's set in Canada and the US); the whole thing is up in the air, and shot like a three hour pop video.
The problem with the film, apart from certain ugly shouting scenes that seemed completely gratuitous, is its superficiality, as if all life were a photo-shoot possibility. When Laurence tells his girlfriend Fred that he feels he is actually a woman, she seems to react with a posey flinging back of the hair as she stands against the wall in a stunning multi-coloured outfit that reminds you of nothing so much as a Diana Ross cover from the late eighties - it is all glamour and posturing. The action is set in the eighties and nineties and some of the looks are nevertheless brilliant, particularly Fred, whose face suits the style to a T. So when she goes to a party with a wide shouldered, backless number with her hair piled up, to a song about fading to a shade of grey, the whoosh factor is undeniable. Suzanne Clement looks completely stunning in these scenes, and her screen presence is always strong. As for Melvil Poupaud, his transgender performance is remarkable, unpredictable, vivid. But as I say, the perspective is highly unusual; he is a teacher, but we only see him walk into the school once in women's clothes and the reaction has a complete sense of unreality, as does the sense of him going into the situation. The next thing, he is fired, which we do see more realistically ... It is a surprise to see Nathalie Baye turn up as his mother, in a nuanced performance, but very different from the ones she gave for Truffaut. Dolan is clearly a striking voice in what I see as a wilderness as regards filmmakers under forty, but I don't think his film amounts to much, really. It is very much art coming out of the new technology generation (growing up since 2000), where the effect of living with the continuous presence of screens seems to have had a huge impact on how people experience life. It made me feel like being at a party at which I could only sit out on the sidelines.
Knew nothing about this film or Xavier Dolan , but just decided to watch last night . Simply blown away. This is my film of the year . Loved the style , very visual , music video , lush , don't know whether I would say Kubrick or Bruce la bruce or just a clever advert ? I love film but I am not a buff . Loved the use of music and clothes and all weird furniture from the times . Suzanne Clement totally held the screen as his girl friend and each scene was so visual , like eating too much cake with cream . We held our breath and we laughed and we wanted to cry . Do not just label this as a queer or art film , this goes beyond prejudice or preconception . Watch rather than reading these reviews . A really different take on male/female/gender/love.
5.0 out of 5 stars“Laurence Anyways Is A Redemption Film...If There Ever Was One..
Reviewed in Canada on January 8, 2016
The one thing an one thing only I would like to say to Mr. Xavier Dolan is, (pronounce Do-lan) please do change your Aspect Ratio of you movies, I see even Netflix didn’t like it, the reason is I would like to see the whole vision an scope of the background you are presenting to the viewer which is me, us, we, now after all that is said, this is one movie that I loved, its an absolutely truth to people, we just don’t understand each other of how we are so different to each other, even if we’ve lived together for years, sometimes people say we know one another but do we, really, I can’t really explain how I despise 1.33:1 Ratio, TVs were not meant for that anymore, unless you’re watching an older I mean older movie, which I can handle if I want too, but it’s a very limited scale for me, Melvil Poupaud an Suzanne Clément was so outstanding its like watching a play on stage, then I though about it how it was filmed, maybe he wanted just the image of his subject in that box (4.3) to just shine through, the subject in this movie is been a long time coming for those who suffer at the hands of their own family, if family can’t accept you who will, even if you don’t like reading French Subtitles, which there is no dub for English It wont be hard, “Laurence Anyways Is A Redemption Film...If There Ever Was One..