Opiniones de usuarios

First of all, as a 50 something Japanese who experienced what is was like living in Tokyo back in the late 80's, I was really surprised the authenticity of the depiction of the period. They recreated the era so perfectly, it was easy for me to get into the story and take them seriously. That's not always happens when hollywood pictures try to portay my country. Good start.

And yes, as other reviewers points out, the story goes very slow, and they reveal the bare bones much much later, so sometimes it's a little difficult to follow and understand what's happening. But we will come to know the loneliness and anxiety of this caucasian woman from Sweden who lives in Tokyo bit by bit, and what happened to her life in the past, our patience will be nicely rewarded. This film is like a kind of psycological charachter study which disguises as a murder mystery. Maybe not for everyone's taste but I'm sure some people may find it interesting and fascinating.

Alicia Vikander's performance is wonderful as always and she speaks Japanese language maybe not so perfectly but beautifully. Naoki Kobayashi also did a fine job considering his low experiences as an actor which I'm looking forward more to come.

And nice surprise was a brief appearance of Yoshiko Sakuma who was one of the most popular beauty queens from the golden age of Japanese cinema and also one of the two divas (the other was Junko Fuji) of Toei Studio in the 60's.

Earthquake Bird is a very different film, it's not exactly what I was expecting having seen a trailer, but I enjoyed it. You will question events and reality as you watch Lucy plunged into a series of bizarre events, as you watch you'll ask if events were real, and if those around her did indeed exist. Alicia Vikander is absolutely terrific in the lead, so convincing. Naoki Kobayashi and Riley Keough also impress in supporting roles. The first forty minutes or so were a bit of a challenge, it took a long time to open up, but when it does it becomes a very absorbing watch. The pace won't suit everyone, some may find it a little slow, but I enjoy this type of psychological thriller.

A thumbs up from me, just stick with it, it's worth it.

Solid movie, keeps you engaged and decent twists through to the end. The Japanese setting and cultural exploration adds an interesting element, and great acting by Vikander (if she didn't learn Japanese, her acting sure was convincing). While the story does sag in a few places, I was never bored. Not an award winning movie, but a very solid watch.

Another title in the never-ending churn of book to film adaptations from the Netflix studios, this is a fine performance from Alicia Vikander who is captivating throughout as an emotionally vulnerable Swede living in Japan, with a decent supporting cast.

The film promotes the Japanese setting well including a good showcase of culture, attitudes and landscape but the film has pacing issues which aren't helped by the random mixture of flashback and psychosis nor the unsatisfying ending.

A decent watch, but fails to deliver any real impact.

A solid but ultimately stolid mystery, super competent and quite engaging but with no flair and a lacklustre ending. Seen it all before, albeit in a different setting. #LFF

It's a slow burn, half way through the movie I had to stop and take a break. I assumed the second half the movie could go in multiple directions, too bad they went with one that was expected and not nearly surprising enough.

Good acting..

Movie starts off quite well arousing the viewer's intrigue. It is set in a really interesting background, Japan in the 80s. Alicia Vikander's acting skills and beautiful cinematography kept my attention. Every little detail seemed to be heading for a dramatic ending perhaps a really intelligent twist. However, movie becomes all over the place in the second half ending abruptly without much of a conclusion. In the end I felt like being let down and totally unsatisfied.

I'd give this a 6.5 if we could implement a half star rating BUT we can't. I bumped it up to a 7.

This wasn't an awful film. It is well filmed and the atmosphere is well constructed, pulling you in to keep you interested. I thought the acting was decent but I'm not familiar with any of them.

It is a slowly paced film. I mean... S-L-O-W. While it is meant to help with the atmospheric setup, it kinda got dull at times. I was still interested. I just wanted it to move a bit faster.

I wouldn't be honest if I didn't mention that the ending was a bit of a let down. We had this great foreboding but when it came time to unveil everything it was just...bland.

Would I suggest it? Yeah. I guess I would. If you like mystery, it's not that bad. Just slow, a bit predictable and the finish is a bit underwhelming. It's not bad for just a regular night on the couch.

A story made in Japan giving insight in Japanese culture and mannerism, beautifully filmed, draws one's attention. It starts of well, but falters in the middle and ends awkwardly.

It keeps one's attention to figure out what's actually happened, but after it's over, the plot was actually unexciting and gloomy.

Unusual and captivating movie, very original. I slowly immersed myself in the atmosphere and really enjoyed it.

Wash Westmoreland's "Earthquake Bird" isn't a great movie but still worth seeing, with Alicia Vikander as an expat in Japan who enters a potentially dangerous situation. In addition to the plot what I liked was the scenes of Japan's countryside; I hope to go there someday.

I recommend the movie. I hope that Vikander's career continues like this. Also appearing is Riley Keough (Elvis Presley's granddaughter).

Honestly, I fell asleep. The narrative's pace is too slow to be suspenseful. Vikander's character is underwritten and opaque. Teiji, the photographer at the apex of the love triangle, is so uncharismatic her obsession with him is baffling. So is the fact that two young women are drawn to him. I guess his being a photographer is supposed to be enough to make him a darkly romantic, irresistible figure. Whatever.

The mystery of what happened to the other young woman isn't compelling. It sure couldn't keep me awake

I think the film's underlying theme is about guilt over things undone that resulted in harm to someone - the sins of omission rather than commission. But since I nodded off halfway through I'm probably wrong.

If you're a fan of long, pregnant pauses where the main character stares soulfully into the middle distance while nothing happens and nothing much is said, you might enjoy this.

If you do watch it, I suggest doing so with a big cup of strong, black coffee because without one, you could fall asleep, too.

Birds are delicate - at least that is what is the common belief. And in this case, if we assume that one of the characters is the bird, we can attest to her being quite fragile. Having said that, she also is quite the interesting character and one might wonder a few things about her.

It is a thriller and it is quite a guessing game. The timeline hopping does help keep the tension high, which is a good thing. It works nicely and the acting is rather good. Having said, it isn't without flaws and I understand if some are underwhelmed by how it ... well ends I guess you could say

Note: I know it's not cool to criticize current Asian movies, what with the Tokyo meltdown hoax and all.., but one reviewer here called this movie "elegant".., so I'm compelled to reply.

Opening sequences OF.. or FROM.. trains in motion, especially when accompanied by smooth and alluring photography, will generally indicate a film with high production values -- in other words, an 'A' movie, albeit second-tier, usually just not quite on par with a top-tier movie that is typified by more expensive shots from aircraft -- at least THAT'S my theory. Ergo, I was optimistic.

I had just switched over from an entrancing music video of 070 Shake's UNDER the MOON, with its seductive, purple-haired singer, who insists she wants to get "ha-high".., so I was more than ready to embrace Lucy Fly, the rather equally morose and seemingly mysterious heroine of Earthquake Bird. I assumed she (Lucy) WAS in fact said Earthquake Bird.., though I never did untangle that particular metaphor.., and indeed, the fact that Tokyo has occasional tremors.. in my humble opinion never really seemed to contribute very much.. or even relate to the "story".

The quotes there should tell you that I spent a good portion of the remaining hour-plus.. trying to figure out what-the-kabuki I was watching. I refused to think it was just another story like Delirious.. or Sons And Lovers (a sensitive guy.. torn between a blonde and a brunette).. or an episode of The Mentalist.., say, with a quasi-gratifying twist at the end, like the old French drama, Diabolique.

I wanted to be swept away (get ha-high) in the exotic atmospheres artfully created.., but I had to hold myself back, owing to gradually mounting evidence of the limited but unmistakable Masonic thumbprint on this movie (like the checkerboard flooring, etc.), which would normally tell me that the usual social-engineering agenda would ultimately be more important to the director than simply making art. So, get over yourself.

Nonetheless, ever the jejune optimist, my first jolt of excitement came when Lucy and Teiji consider embarking on a truly honest dialogue (and presumably relationship).. since they mutually acknowledged how unique and special they each were -- i.e., capable of doing something which no couple in history has ever succeeded in doing. And, as corroborating evidence.., I cite the smooth-worn aphorism -- namely, "THE MAN (or woman?) WHO TELLS THE TRUTH SLEEPS ALONE." Thus, this idea of iconoclastically Painful Honesty was the first of many trailheads, where some thematic path turned out to be a dead end.

As time after time my hopes were dashed, and nothing really seemed to develop (except my latent fondness for karaoke).., the NWO agenda items nevertheless rolled out with the predictability of a train schedule -- i.e., Men are horrible, Don't trust anyone, Bi-sexuality is cool, etc. etc.. It felt as if the director was merely following HIS Masonic script, while compensating for enslavement to the overlords by randomly showing off his facility with film lore and styles. By the home stretch, I half expected a scene with Lucy running manically down the sidewalk, past shops of corrugated metal, to David Bowie's recording of Modern Love.. or maybe a brief vignette of a magic-wand-weilding Claire Danes singing I Think I'm Turning Japanese. No.., I can't say it wasn't fun. It was.

Omg, toward the end.. there WAS an actual plot twist of sorts, somewhat cathartic for Lucy perhaps, but barely a blip on the radar.. if you're thinking in terms of "spoilers". (Don't bring me down, Bruce.).., which is to say -- compounding Lucy's inherent Nordic guilt, there was the unfortunate incident involving a fatal fall from the top of a staircase. (Apparently even classical musicians have their job hazards?) Thus, the only redeeming gratification to be found.. for me, the hapless viewer, was to point out.. that the blame for said fall belonged to neither Lucy nor her fellow quartet member. ... By which point I was literally talking to the TV screen, pointing out that, if one steps back from the well-portrayed darkness that is Japan under the moon.. and moves into the light of Western lucidity.., one is forced to confess that the staircase had clearly lacked a proper-sized landing at the top; and thus the blame for the aforementioned fatality clearly lay at the feet of the Tokyo City Building Inspector, who was obviously not adhering to the North American Manual Of Uniform Construction Specifications. Thus.., what we can take away, (on the heels of yet another unpursued trailhead.. (an intriguing remark by the sagely detective).. is that, while we DO all live in the isolation of our own uniquely fabricated realities (where one COULD either be an inexplicably eccentric photographer OR merely a demented serial killer).. one should at bare minimum never lose sight of their local building codes.

cheers😇

If you want to watch an actress who can ride every subtle nuance of an emotional wave, then Alicia Vikander is your kind of actress (it's that skill that won her an Oscar, gives her the ability to shift genres effortlessly and has earned her a faithful fan base). This story is a character study perfectly articulated. Alicia's performance is a 10. If you want a fast paced thriller with dramatic twists and turns, this is not the movie for you. The twists may not take you by surprise. The story is a slow, methodical reveal of a mystery. I give the film a 7 (good) out of 10. {Dramatic Thriller}

Caught this at the festival last week. I wish I hadn't. How Netflix was convinced to make this into a movie is beyond me. The book had an actual ending. This is not the same story though. Some white girl is confused and goes to find herself in mystical Asian country. Then she falls apart further because of, wait for it, some guy that is closed-off emotionally, sends all these creepy signals, and just takes pictures of her, controlling what she does. Pitting woman against woman, this (non-Japanese, male) director makes it so the Asian guy gets even creepier. Sigh. It's 2019 and this film cost millions I assume. What's it offer? Sexism, Asian fantasy, the Yellow Peril, all wrapped up in a total mess of a film with the viewers never sure if we're watching a dream, a fantasy, something real from the past, or from the future.

Set in Tokyo, a surprisingly Japanese speaking Alicia Vikander, Lucy, is interrogated by police over the disappearance, and suspected murder, of fellow expat Lily. Tension grows throughout the film as Lucy grows increasingly jealous and paranoid of Lily, who slowly gets close to her mysterious photographer boyfriend Teiji.

Whilst the pace of the film is slow, Alicia Vikander is phenomenal as Lily, holding you at the edge of your seat as her mental state slowly crumbles. Time is taken to dwell on Lucy's expressions, her feelings, her psyche. Her eyes slowly welling up in one scene is magical.

The setting is a character in its own right, framed magnificently in a number of scenes- the grandeur of the mountains, the composition of the secret woodland temple, the liveliness of the festival... compared to the greys of Teiji's studio and Lucy's apartment near the end.

There is a quietness to the movie which I actually really like and unfortunately felt that the ending/resolve, which was rather abrupt did not feel right with the rest of the movie and was too convenient and expected.

Nonetheless, I found there was a lot to love about the movie that despite its pace, kept my attention throughout; with an emotional and reflective performance from Vikander, and was a much needed "quieter" film amongst all the noise of the world.

I found the movie because of Ridley Scott is the producer and the fact that Alicia Vikander plays the lead role has increasingly aroused my interest. I also didn't know until after the movie (through google research) that it was a movie adaptation of an award-winning erotic novel. Maybe the people who didn't give less than 6 stars disturbed themselves because there is not much eroticism in the film. It's more of a psychological thriller, which doesn't shock you and also doesn't surprise you at the end. But the director doesn't want to surprise with the end of the film, he wants to make the way to the end as intense, captivating and atmospheric as possible. The atmosphere of the film through it's late 80's japanese look (cinematographer is Chung Chung-hoon known for "Oldboy" and "It") and mysterious music (by Oscar winning Trio Claudia Sarne, Leopold und Atticus Ross "The Social Network"), as well as the acting of (a japanese speaking) Alicia Vikander are very convincing and refreshing in one of the best Netflix movies so far.

Movie without any sense, non of the characters is anyhow interesting. After having seen the movie I feel to have waisted my time. cars are not period correct (assuming the action takes place in 1989) Police Car - Nissan Cedric '1995-2012 Background car - Nissan AD Van (Y12) '2006-16 Background car - Toyota Crown Sedan S130 FACELIFT '1991 the earliest Background car - Nissan NV100 Clipper (DR64V) (2013-2015) There's absolutely no feeling of 1989.

This film tells the story of a Swedish woman who lives in Japan. She is invited by the police for an interview regarding the death of her friend.

The film is technically good, with great lighting and great scene composition. The setting in Japan is also quite exotic, and offers a different perspective to the story. However, the pace is very slow, and the story is quite a let down. Just when there seems to be the big twist, it twists again and undoes it. The mental state of Lucy could have been expanded regarding the strange visions, but it was not. Overall, it is worth a watch, but don't expect too much.