"My Blueberry Nights" represents Wong Kar Wai at the peak of his craft. Not the stylistic transition I had expected as much as a translation of a directors vocabulary into a different spoken language. Which seems to make little difference, as Mr. Wong speaks a cinematic language that is both all his own and universal.

Each slow-mo blur and obstructed frame has as much poetry in it as a line of Shakespeare. Wong motifs abound-- Trains, clocks, diners, female gamblers, policemen, the down on their life and luck and looking for love. (Is the similarity of the names Su Li-Zhen and Sue Lynn mere chance?) From "Days of Being Wild" to this latest film, Wong's work is connected by a thematic thread. It is to his credit that repetition, even if deliberate ("In the Mood for Love" and "2046" come immediately to mind, as do the fraternal twins "Chungking Express" and "Fallen Angels"), does not indicate a lack of invention, a creative rut but rather a prevailing vision.

First-time actor Nora Jones (I must admit I winced at the prospect when I first read the news) acquits herself with charm and grace and the rest of the cast performs flawlessly, with David Strathairn perhaps being the standout. When one takes into account that, despite the crediting of two screenwriters, much of the dialogue is improvised by the the actors, as is Wong's wont, the strength of the performances stands out in greater relief.

You would think with such a powerful cast..Jude Law, Rachel Weisz, Norah Jones and Natalie Portman that there would be a script that could complement their talents. Norah Jones is a woman trying to find herself and goes cross country before discovering that what she wanted was where she left it in NYC. Jude Law does nothing more than smoke a few cigarettes, wipe bar tables and serve Blueberry pie. This movie drags along and has a predictable ending. There are much better rentals than this one. Definitely do not buy!! Have you ever watched a romantic comedy that did not make you laugh? I'll never try Blueberry pie again!!

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. She has promise but the flick rests too much on her inner turmoil to be successful since she cannot be the keystone of the narrative in a way to match the intensity and bravado of her colleagues. The story is very simple. Elizabeth is stuck on her boyfriend whose just broken-up with her. She will have to labor through her incredulousness and inability to let go. The diner's owner, played by Jude Law offers her a shoulder and an ear while terribly straining the poetic attitude of the atmosphere by introducing a dialogue that metaphor driven closes the doors it chances to open. In fact while observing the action from behind window panes or timidly joining the session while tip-toeing about a door left ajar we discover a tenuous delicacy of touch that is as fragile as Norah Jones' performance.
David Strathairn, cast as Arnie, the alcoholic policeman who cannot let go of his wife, strikes a rapport of morbid proportions with Lizzie. While on a lovelorn escapade to Memphis, Lizzie nurses her loss and begins to recover, but in the process as she learns to give up, somehow that same sense of absence transfers to Arnie who is separated from a wife who wants nothing to do with him. The perfection of his character study and depth only highlights the misses of the others, including Arnie's estranged wife Sue Lynne (Rachel Weisz). Arnie gives up on a night of madness and overglowing anger but determines to commit suicide. Enters Natalie Portman, a southern vixen with a penchant for gambling.
The neon-hued camerawork receives added sheen from a trip to Vegas on a brand new Jaguar, only to find out that the every win is also a loss. Ultimately that is the upshot of the narrative which is brightly demented by the braggadocio devil-may care sensibility of Leslie (Natalie Portman). The death of Leslie's father causes a reunion between Lizzie and the diner's proprietor Jeremy, who functions as the jar of sweets everyone is sure with due time Lizzie will find her way to. Time spent through glowing hues that distil an aura of hopeless references and tame performances that jarr all the more because uninspired while beset by the contrasting tenderness of the visual.
A movie worth watching, because of the addictive intensity provided by the camerawork of Darius Khondji, but the elegiac tone of a "Chungking Express" or "In the Mood for Love" is affected by the sobering vapidity of a plot that plays with the notion of loss and gain by using a maudlin dialogue and a cloyed, exhausted attempt at allegorizing by way of sappy, overburdened poetics.

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? ' 'Even if the door is open, the person you're looking for may not be there'. But for the most part this is a visual feast for those who love Kar Wai Wong's genre. The plot is thin as is the dialogue and the actors work to make the most of the outlines of conversation that they embellish with their own spontaneous words. If it feels improvised to the viewer then the viewer has entered the realm of Kar Wai Wong. This is a film for art film lovers - it is very beautiful to watch! Grady Harp, July 08

This is a story of a woman's journey across our country in hopes of finding herself, but this trip is laid out in such a way that the people she meets are the ones we find out more about. This premise makes it a spectator film when I was expecting a Norah Jones film.

I was reeled in immediately though, as the opening credits showed only a few names and the director (have always preferred the no intro rule some directors love). The first act makes you feel as if Jude Law is going to be our main character, but you slowly realize that the stage (and future settings) are being made for the "main" lady to enter for awhile, but eventually continue on her long journey. Jude plays a manager of a café/deli who lends his ear and blueberry desserts to a recently spurned female customer played by Norah Jones. She was very convincing and believable in this first role of hers; a captivating screen presence. Yet I felt robbed of seeing her portrayal depths as she became more of a bystander than a participant in most of the scenes. The supporting performances of Jude, David Straithairn, Rachel Weisz, Frankie Faisson, and Natalie Portman overshadowed Norah's screen time and lines.

The filming style is a montage of sped-up night imagery and slow pans from various angles on the same interior scenes. The fist 20 minutes in NY, followed by the next 35 in Memphis, then Arizona to Vegas are a great deal of chop editing and strange mood setting pans. Slow motion soundless shots intermixed with a constant variety of artsy night footage are sometimes only broken by a display of what day our lady is living, starting with day 1 through 300.

This film gets rave reviews and has a staunch support group that slams anyone who dislikes it. Understandably, I suppose, as Wong Kar Wai is very talented. Wong's 18 minute Q&A on the DVD and the 15 minute making-of docu help considerably on why this film exists. I would recommend this for a few of my art house customers, but not sure how else to categorize it or hand this to someone and say you will love it. Skip the trailer and DVD artwork as it gives away the end, but maybe that was the point.

For years, Hong Kong filmmaker Wong Kar-Wai has resisted the lure of the United States, content to make his films in his native country (with the exception of Happy Together which was shot in South America) without any Hollywood movie stars. This has changed with My Blueberry Nights which Wong made in America with recognizable names like Jude Law, Rachel Weisz, Natalie Portman, and in her feature film debut, singer Norah Jones. However, Wong hasn't exactly sold out - he made the film independently and it was then distributed by the Weinstein Company. Wong's film debuted at the 2007 Cannes Film Festival to a less than favourable reaction and was quietly given a limited theatrical release and is now out on DVD.

Sadly, there is no real chemistry between Norah Jones and Jude Law. It feels like Jones is just saying the lines and not living them. There is no emotional depth to her performance as she tries too hard to act and it shows. In addition, Law is simply not believable as a working class cafe owner. Rachel Weisz also seems miscast, like she's trying out for a boozy, foul-mouthed role in a production of Who's Afraid of Virginia Woolf? (Two-Disc Special Edition) and ends up vamping it up way too self-consciously. Wong's weakness is his absolute need to cast beautifully looking people in his films and in this case it was the film's fatal flaw. Natalie Portman is well cast a smooth talking con artist and the only one (aside from David Strathairn) who looks comfortable in her role. With her curly, light brown hair and brash demeanor, she reminds one of Karen Mok in Wong's Fallen Angels.

"The Making of My Blueberry Nights" is your standard promotional featurette. Wong says that the film is based on a short film he made years ago and when he met Norah Jones in New York City, he decided to expand it into a film. Wong talks about casting the other roles in the film and the actors speak about their characters.

"Q&A with Director Wong Kar Wai" was recorded at the Museum of the Moving Image in New York City on April 3, 2008. He talks about working with singers, his impressions of New York and how the film evolved while he was making it. Wong speaks eloquently about some of the themes of his films and his working methods in this excellent, albeit too-brief, featurette.

Also included is a theatrical trailer.

Finally, there are "Still Galleries" with evocative location scout snapshots and publicity photographs.

My Blueberry Nights opens in New York within the comfy confines of a small café owned by an expatriate Englishman named Jeremy, Jude Law. While busy taking care of his numerous customers, he receives a phone call from a woman asking him if he remembered a man eating meatloaf, later it becomes evident that it was pork chops and not meatloaf, and soon a pretty, but disheveled woman, Elizabeth, played by Norah Jones, makes an appearance at the café and gives Jeremy a set of keys in case her ex-boyfriend comes back. Each night after that occurrence, Elizabeth returns to the café to see if the keys have been picked up and converse with Jeremy. The two strike up a quick friendship and eat the café's leftovers each night. Some things like cheesecake are completely gone each day, some things like chocolate mousse are mostly gone each day, and there is always an untouched blueberry pie because it is left unwanted. It is this pie that Elizabeth eats every night and after a few weeks, she heads on an impromptu road trip.

During her travels, Elizabeth meets a wide assortment of interesting characters. In Tennessee she meets Arnie Copeland, a kind-hearted, but alcoholic policeman who is a patron at both the diner and bar she works at. While drinking to soothe his broken heart, Arnie becomes friends with the much younger Elizabeth and she learns of his wife Sue Lynne who left him. Things seem moderately stable for Arnie, at least within the haze of alcohol, until, one night, when Sue Lynne comes into the bar with another man. After Tennessee, Elizabeth heads west to the land of gamblers where she meets a blonde, southern female gambler named Leslie, Natalie Portman, who loses everything in a match against a fellow with a large forehead sporting a repulsive Hawaiian shirt. Again, Elizabeth becomes friends with her fellow drifter and learns things about others and herself in the process.

Meanwhile, Jeremy, who has been receiving postcards without a return address from Elizabeth, back at the café, writes numerous postcards to Elizabeth, hoping that one of them will reach her, because his heart has opened to her in her absence.

A number of film viewers seemed to be against My Blueberry Nights while it was in the pre-production stage because it was Wong Kar Wai's first film using all non-Asian actors and actresses, as if the aesthetics and beauty found In the Mood for Love and Chungking Express could not be translated over from Asian actors to non-Asian actors. With Taiwanese directors Ang Lee and Hou Hsiao-hsien having done similar endeavors, it stands to reason that Wong would be successful also. While the accents of Natalie Portman and Rachel Weisz are a bit overdone and the script does in fact sound like it is coming from a translation at points, the Wong Kar Wai sense of film aesthetic still strongly comes through with his wonderful selection of music, Cat Power's "The Greatest" plays a prominent role in the film, and its sense of loneliness and the beauty and sadness that can be found in loneliness when one is not only alone in body, but in an unfamiliar land. Some say that this is Wong Kar Wai's worst film, but with his worst being better than most, My Blueberry Nights is still a worthy film for the Wong Kar Wai canon, and should not be scoffed at by his "fans" because it stars non-Asian actors and actresses.

Considering the negative response this film has generated, I went into the movie theater not expecting much. The premise of the movie sounded interesting so I figured--why not give it a try. I'm glad I did. I actually liked it. To tell you the truth, I liked it a lot more than 2046. I will admit Norah Jones was not very good. I liked the cinematography and score. I thought David Strathairn and Natalie Portman were exceptionally good. The story reminded me of something Wim Wenders would've written: you never know what you have until you lose it. Very existentialist. Go see WINGS OF DESIRE to know what I'm talking about.

This movie offers you a lot more than your ordinary love story. It gives you an insight into what makes us essentially human. The actors and actresses did a good job portraying their flawed and fragile characters, making you laugh,cry and smile with them. Norah Jones is great as an actress - her character is the most complex of all, yet the most human.You could feel what her character goes through, what she's thinking and feeling. Not bad at all for a first timer. Definitely a movie that I'd watch again and again.

Hope this helps.

My Blueberry Nights had a lot of potential, a great cast, a hot director and a hot young singer who is making her film debut. So what could go wrong with all of this potential? Everything. First and foremost, The major problem this film has is its script, which is just full of clichés and awful dialog. None of the characters feel real and their stories are not very interesting at all except for the story involving the characters played by Rachel Weisz and David Strathaim which is only interesting because you have two of the best actors working today trying hard to bring meaning to their roles and almost succeeding but with how unfocused the script is, they both only manage to make you think on how better this film would have been with just their characters as the focus and of course a better screenplay for them to work with. Jude law is just playing himself and Natalie Portman has the goods but does not have a clear direction on how to play her character and i blame it all on how unfocused the script is. The second problem is Nora Jones, who is making her film debut. She's a great singer but she's not an actress and its almost painful to see her in the main role because she does not connect with the audience and you don't really care about her character at all. Maybe if she had a better screenplay to work with as well and some formal training, she would have done better but as she is now in this film, she's more a deer in headlights than an actor.

Kar Wai Wong does try his best but he should have just waited for a better script and with such a great cast at his disposal, he should have taken the time to support them with better material then to leave them hanging in the wind and that's what i think he did with making this film.