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K. Wilkerson Says, in 2-27-2010 at 19:13:30 from     

This was so boring I had to force myself to finish it. I kept hoping it would get better. It didn’t. No wonder it went straight to video.
Rating: 1 / 5

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Alicia M. Justus Says, in 2-27-2010 at 21:58:48 from     

Dumbest movie I have watched in a long time. There was no plot, no storyline, too bad all these great actors agreed to this horrible film.
Rating: 1 / 5

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Biffy Says, in 2-28-2010 at 00:03:54 from     

I was born in NYC, and I live in CA because the weather got too rough for me. I miss NY so much that I am always looking for a good opportunity to see movies about the city. I hated this picture! I could not continue watching, not only because the vocabulary was limited to the characters using curse words to express themselves, but as much I watched, the dialog was puzzling, the people lustful, and I didn’t want to waste my time, and submit my ears to fowl language to see how things turned out. I saw no love for NYC! New York, I Love You
Rating: 1 / 5

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Rodney P. Welch Says, in 2-28-2010 at 01:16:17 from     

“New York, I Love You” is, of course, the Big Apple version of “Paris, Jet’aime” — both anthology films involving a series of love stories set in their respective big cities. There, alas, the comparison ends. The earlier film was livelier, zestier, more colorful, and had more ambition going for it. Everyone involved seemed bent on telling the smartest, wittiest, classiest story they could in five or ten minutes. The sections directed by the Coen Brothers, Tom Twyker and Alexander Payne brought out the best in everyone. (Payne’s was a small masterpiece.) This “New York” thing, by contrast, is mostly just amusingly clever. There’s some good stuff here, admittedly. The best segment is one by Brett Ratner, involving a luckless young man who gets a prom night neither he nor I will ever forget. Also, it was great to see Eli Wallach and Cloris Leachman paired off as a bickering but loving old couple. It’s always great to see Julie Christie again, too, although her segment didn’t amount to much, and neither did a lot of the others. I think the script for Natalie Portman’s contribution was probably written on a napkin the day before shooting. You could do worse if you’re looking for a movie for Valentine’s Day but, as I’ve noted repeatedly, you could also do a lot better.
Rating: 3 / 5

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Ed Uyeshima Says, in 2-28-2010 at 01:26:36 from     

A dozen stories. Ten filmmakers. 103 minutes. If you do the math, you will draw the same conclusion I did – that there isn’t much time for a viewer to make an emotional connection with every episode presented in this all-star 2009 omnibus tribute to New York. An eclectic group of global filmmakers, some well-known, others on the verge, had to meet certain requirements to make the final cut – they were given only 24 hours to shoot, a week to edit, and the result had to reflect a strong sense of a particular NYC neighborhood. The cumulative effect makes for a moody portrait of the city through various couplings, but due to the contrivance of its structure, the film falls short in bringing a deeper emotional resonance to the themes the creators want to convey.

With a couple of key exceptions, the film appears to be more of a valentine to Lower Manhattan. Consequently, there is a fashionably edgy look to the short stories. Israeli-born French director Yvan Attal epitomizes this feeling in two episodes. The first deals with an aggressively talkative writer (an irritating Ethan Hawke) throwing a barrage of romantic and sexual overtures at a sleek Asian woman who appears to have heard it all (Maggie Q). The other is marginally better, focusing on a chance conversation outside a restaurant between a woman taking a cigarette break (an effortlessly sexy Robin Wright Penn) and a man intrigued by her emotional availability (Chris Cooper). Both have O. Henry-type twist endings that make them ultimately entertaining.

A couple of other entries feel more gimmicky by comparison. Brett Ratner’s mostly comic entry features Anton Yelchin as a naïve high-school student and Olivia Thirlby as his unexpected prom date with James Caan as her pushy pharmacist father. Mira Nair directed a flat culture-clash encounter between two savvy souls – a Hassid woman about to marry (Natalie Portman) and a Jain diamond dealer (Irrfan Khan) – who become mutually intrigued by their price negotiation meeting. Other episodes feel even more cursory. Portman wrote and directed a brief episode focused on an ebullient toddler (Taylor Geare) and her father (Carlos Acosta) having a play date in Central Park, highlighted by a brief dance performance from Acosta at the end (he is a Cuban-born principal dancer for the Royal Ballet). Chinese director Jiang Wen led Hayden Christensen, Andy Garcia and Rachel Bilson on an empty roundelay of deception and humiliation among thieves at a bar.

Japanese director Shunji Iwai was at the helm of a slight episode featuring Orlando Bloom as a frantic musician working against deadline, while Turkish director Faith Akin shares a brief story of obsession with Uður Yücel as a solitary artist who wants to paint the face of a local Chinese herbalist (Shu Qi). The entry from Allen Hughes (of the Hughes Brothers) consists mostly of a continuing voiceover of two regretful lovers (Bradley Cooper, Drea de Matteo) hesitant to follow up on their passionate one-night stand. The oddest, most dispiriting entry comes from Shekhar Kapur who directed a script from the late Anthony Minghella (to whom the film is dedicated). It stars Julie Christie as a renowned opera singer returning to a posh Fifth Avenue hotel where she bonds with a palsied, Slovak-accented bellboy played by an overly sensitive Shia LaBeouf. The nature of their relationship is never really divulged, but it ends on a surreal note of little consequence.

Directed and written by Joshua Marston, the best episode is perhaps the least ambitious as it features Eli Wallach and Cloris Leachman as an aged, bickering couple on their way to the boardwalk in Coney Island for their 63rd anniversary. The reassuring way she places her head on his shoulder is easily the most touching moment in the film. All in all, this stylish hodgepodge will appeal mostly to those who are drawn to the short story format. Benoît Debie’s sharp cinematography at least brings a consistent sheen to the film as it tethers the various storylines to a New York that feels mired in a cinematic fantasy. I just think Woody Allen’s “Manhattan” executes on the same approach far more effectively. The extras on the 2010 DVD include a handful of additional scenes (though not the two deleted segments directed by Scarlett Johansson and Andrei Zvyagintsev), interviews with five of the directors and the original theatrical trailer.
Rating: 3 / 5

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