New York, I Love You

10 stories cramped together in 110 mins. The result can be guessed - each story not getting enough time. Moreover, the characters don't have the required depth or layers. Having such a star-studded cast, the movie doesn't have any impact and doesn't show much of cultural diversity, chaos, etc...

The movie is no comparison to 'Paris Je 'taime'. But, since New York is a city close to my heart, it made a pleasant watch for me.

My favourite story out of the 10 was the one with the high school prom. The story was different and amusing. Second was the one with the growing apart couple.

The second installment in the I LOVE YOU series appears at first to be a mere variety-pack of sad-funny vignettes but occasionally it veers into territory explored by such other recent films as Paul Haggis's CRASH or Michael Hanecke's CODE INCONNU, wherein disparate inhabitants of a large city cross paths, not only affecting each other's lives in unexpected ways, but feeding into a larger overall story.

Most of these New York City stories manage to wrap up with a twist. This O. Henry-style surprise element is the structural key that gives several segments their sense of closure, especially in Yvan Attal's two-part entry about encounters between smokers outside a restaurant. In one encounter, Ethan Hawke as a fast-talking young writer brazenly tries to pick up a woman (Maggie Q) with unexpected results; in the other, Chris Cooper and Robin Wright Penn share some tantalizing conversation with an equally unexpected resolution.

Almost as good are a strange prom date between an awkward boy (Anton Yelchin) and the wheelchair-bound daughter (Olivia Thirlby) of an eccentric, pushy pharmacist (James Caan) and a slick bit wherein Hayden Christensen as a smart alecky pickpocket goes up against Andy Garcia as a college professor who turns the tables on him in the manner of Miriam Hopkins and Herbert Marshall in the 1932 classic TROUBLE IN PARADISE.

Standing apart from all other segments is the lovely character study of a married couple (Eli Wallach and Cloris Leachman) bickering gently as they walk to the seashore to commemorate their 63rd wedding anniversary – beautiful acting by two old masters.

In Allen Hughes's segment there is some excellent internal monologue writing by Alexandra Cassavetes and Stephen Winter about two insecure people on their way to their second date with each other, wonderfully enacted by Drea De Matteo and Bradley Cooper.

Other segments - including Mira Nair's with Natalie Portman as a Hassidic Jew momentarily smitten with a Jain diamond merchant (Irrfan Khan) on the eve of her wedding, and Shekhar Kapur's with Julie Christie as an aging singer who checks into an ethereal hotel staffed by a crippled Shia LeBouef and a haggard John Hurt – have their moments, but peter off into nowhere. Too bad the reunion of Christie and Hurt almost exactly 40 years after their only other co-starring film, IN SEARCH OF GREGORY, couldn't at least have shown them together clearly, from the front, in the same frame, just once.

Other than one episode in Brighton Beach and one in Chinatown, the action takes place in well-heeled sections of Manhattan. The black and Puerto-Rican population is barely represented, though the age range of subjects covers about 7 through about 90. The boroughs of the Bronx, Queens and Staten Island are ignored completely. Few of the stories concern themselves with themes or situations unique to New York. Most of them could just as easily take place in London or Berlin or Buenos Aires or Tokyo. But the rapidly shifting focus, the large and interesting cast and occasional sharp writing, keep one reasonably entertained despite the occasional misfires.

Although my title might sound like a jab, I mean it literally. If you like movies where nothing happens, "New York, I Love You" is a good one to catch.

So if nothing happens, what's it all about? Well, here we have 10 slice-of-life vignettes of people living in New York City focusing on interpersonal relationships, character drama, and in almost every story some sort of quirky ironic twist.

In a few cases the ironic twist is enough to make you say to yourself, "Aha! Good one." Segments in this category include a segment starring Robin Wright & Chris Cooper about a woman & man who meet on the street flirting with the idea of anonymous sex, or in the segment starring Olivia Thirlby, James Caan & Anton Yelchin about a boy who goes to the prom with a girl in a wheelchair, or the opening segment starring Hayden Christensen & Andy Garcia about a petty thief who meets his match. Or an impressive directing debut from Natalie Portman about a man who takes a young girl to the park for a day. Each of these may seem light on story, but there's a nice twist to each.

Other segments are a little less twisty in plot, but they make up for it with charming characters or quirky conversations, like the segment with Ethan Hawke using every line in the book to pick up a mysterious woman, or the segment starring the screen legends Eli Wallach ("The Good, the Bad and the Ugly") & Cloris Leechman ("Frau Blucher!" in Young Frankenstein) about an elderly couple who go to Coney Island for the day.

And then there's the segment starring Julie Christie as a lonely, retired opera singer who checks into an ancient hotel for a night. That segment stands out for its haunting style and quiet desperation.

"New York, I Love You" is the American version of "Paris je t'aime" released two years earlier, each film featuring a series of shorts highlighting the human love affair with an iconic city. Oddly enough, "New York" features all but 2 directors who were born outside America (including Natalie Portman--did you know she was born in Israel?), so there is a very culturally diverse vibe. This ain't no "Friends" centered around young professional caucasians. It often digs deep into the ethnic perspective with characters who are Jewish (Hacidic), Hindu (Jain...although he points out that Jains are not Hindu because Hinduism is too materialistic haha), Chinese, Iranian, British, and a few I couldn't figure out.

My only real gripe with this film is that it seemed uneven at times, with the directing styles and stories often shifting gears so abruptly, and without any signals to let you know the prior story had ended and we're on to the next, that you can easily get disoriented. Transitions with characters' paths criss-crossing were inserted to make it more of a cohesive whole, but I think the opposite effect happened. I might've liked it better if the stories were kept very separate, like in the excellent "Tokyo!" featuring 3 very different stories from very different directors. But as far as short film compilations go, "New York, I Love You" is a good solid package that should tickle your nostalgia bone whether or not you hail from the Big Apple.

I can't end without mentioning my favorite film in this genre, "Coffee & Cigarettes" by Jim Jarmusch, featuring 11 short films set in Coffee Shops around the world. If you like this sort of thing, definitely check that one out.

The great thing about 'Paris, je t'aime' was the diversity of the shorts that went to making up the film; first you'd have a drama then a comedy then a thriller, each director had their own unique style and if there was one you didn't like it didn't matter as it was soon on to the next one, unfortunately this doesn't happen in 'New York, I Love You' the same concept applied to another major city. Here the shorts are loosely tied together by reoccurring characters from the stories which may have been done on purpose for the flow but it does make the distinction between them hard. Considering that New York is such a diverse city it is surprising that it isn't explored more here and a lot of the shorts fall into the same kind of categories. My only real criticism with the film is for something that's called 'New York, I Love You' it's all just so depressing each tale has an element of real sadness to it, which is not necessarily a bad thing, it gives the film depth but just don't go excepting to leave uplifted. My favourite was the piece written by the late Anthony Minghella which was not only moving but proved something I never thought I'd see Shia LaBeouf actually acting. So overall it's a mixed bag worth seeing but nowhere near as good as its Paris counterpart.

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 fun together 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 Uğur 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 voice-over 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 guest 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 story lines 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.