Looking at Jim Jarmusch’s filmography, there isn’t one film I’ve even heard of. But this is a name worth remember, if only to avoid going through another one of the type of dreadful cinema experience this film proved itself to be.
A mysterious letter leads a middle-aged man to go on a voyage reuniting with ex-girlfriends and uncovering the possibility that one of them had a 19-year-old son with him. Under such simple plots, it was up to the characters to shine through. Sadly, none of them did. Each ex-girlfriend had a strong character that was clearly built by writer but not fully portrayed by the actress. It’s debatably part of the character work to make Sharon Stone look like a porn star from the 70s, but the extent to which they had Frances Conroy looking like a senior citizen is puzzling. Tilda Swinton’s performance would’ve been more memorable than Stone’s if her character wasn’t so especially forgettable.
And connecting every encounter with the color pink is juvenile. Reminds me of the kind of symbolism I came up with in grade school English.
The film wouldn’t have been so bad if it weren’t for its pace. Oh my god the pace! I’ve watched and enjoyed my fair share of Wong Kar Wai films in which he’d force-feed whole-minute shots of Tony Leung doing much of nothing at all. Well, Leung is just that much better an actor than Murray, and way more pleasing to the eye.
The best part of the 105 minutes was the music. The smart move would’ve been saving the ticket money and buying the soundtrack instead.
I give Broken Flowers 2 stars.
The better:
The multifaceted Teddy Chan took a break from Jacky Chan action films and presented our city with this no-less-money-making tale about growing up, suffering, forgiveness and more.
Once again, Andy Lau is applauded for his painstaking efforts albeit his debatable talent in acting. His enduring seven-hour makeup sessions at the start of each day of filming and another several hours removing the makeup afterwards brought out one of the themes of this story. His supportive coworkers did everything they could to alleviate what sense of imprisonment he must’ve felt under all the silicone facial molds, but none of them could truly understand what he was going through.
The plot is no newfound concept: A 12-year-old boy embodied in an adult lived through his whole life in four days. Perspectives were forced to change in mere moments; and maintaining innocence becomes the biggest challenge. The moral: time is not a restraint when you use each moment to its fullest. Chan in an interview said: “When you can't forgive, forget.”
Easier said than done, obviously. And what if you can’t forget?
The multifaceted Teddy Chan took a break from Jacky Chan action films and presented our city with this no-less-money-making tale about growing up, suffering, forgiveness and more.
Once again, Andy Lau is applauded for his painstaking efforts albeit his debatable talent in acting. His enduring seven-hour makeup sessions at the start of each day of filming and another several hours removing the makeup afterwards brought out one of the themes of this story. His supportive coworkers did everything they could to alleviate what sense of imprisonment he must’ve felt under all the silicone facial molds, but none of them could truly understand what he was going through.
The plot is no newfound concept: A 12-year-old boy embodied in an adult lived through his whole life in four days. Perspectives were forced to change in mere moments; and maintaining innocence becomes the biggest challenge. The moral: time is not a restraint when you use each moment to its fullest. Chan in an interview said: “When you can't forgive, forget.”
Easier said than done, obviously. And what if you can’t forget?
I give Wait 'Til You're Older 3.5 stars 
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