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All I see is a film school thesis movie that should have been failed and forgotten. Instead, the director's lust for Blake Lively led to a near pornographic experience that lacks any satisfaction

The movie starts out relatively interesting. TThe storyline is good but the ending was very abrupt. As soon as the credits started rolling i was just kinda like wait...what? And I hate that about movies. Based on the reviews I wasn't expecting something out of this world and before even in starting the movie I exptected thw problem of the movie to be the end in which I was right. I feel like this was just a money filler for the both of these main actors. The movie had my undivided attention but ultimately the ending could have been done differently...

Time to tell you how bad this film is. I didn't know much about it but I really like Blake Lively. Ever since the Gossip Girl days I've been interested in seeing more of her. The Shallows might be ridiculous at times but she's good in it and does show effort to her role. The same can be said for her commitment to this film, however its a shame everything else about this film lets her down. Its definitely a "what the hell did I just watch" film.

The film is about a woman who is blind and has surgery to repair her vision. Once this happens her husband starts realizing that she knows about how attractive and appealing she is and becomes concerned with their marriage falling apart and her being pulled out towards other relationships. That's really whats going on. Along the way she starts losing her sight again along with her relationship. And then there's a what the heck moment with an incredibly stupid ending.

The film does a good job of portraying eye popping visuals for what Lively's character sees when she is blind. The foggy, ever changing, and almost psychedelic visuals of her vision are quite nice to look at. As mentioned earlier Lively is good in this, but everyone in this film is unlikable. Lively's character isn't worth redeeming, Jason Clarke' s character is mysterious, like was he even good or bad? There's a lot of weird awkward moments dialogues about dicks and a very weirdly creepy brother in law. Yikes.

I want to say there was potential here but about twenty minutes in you realize that its just wasted time. I want to see Lively in something better with a good filmmaker to bat. This is just a frustratingly bad experience because we have a frustrating director at the helm. Its quite stupid at times, you may want to check it out to see if you can form a different more positive opinion about it. Honestly though, its better to not "see" this one.

5/10

Marc Forster has delivered some decent big budget films in the past, like World War Z and Quantum of Solace, but All I See is You is smaller and a less epic offering. The story is an interesting one, a woman who has been blind for a long time has a procedure to get her eyesight back. The recovery period is long but ultimately successful in helping her gain her eyesight back, but she slowly starts realizing her life is not at all what it seems.

I thought the cast did a fine job, Blake Lively played a blind woman quite well and Jason Clarke played her supportive yet angry husband.

The problem with this movie is that nothing really happens, it tried to hit the viewer with a couple twists but those ultimately fell flat. Another problem was that it tried to use sex to further the narrative but that really just got in the way and felt forced. Maybe Marc was trying to distract the viewer with sex so they don't realize his movie is boring. A sort of plus was the handful of cool visuals that were scattered throughout the film, I won't tell you what they are because I don't really know how to explain them and if you choose to see it, I don't want to give anything away.

My Suggestion: See it if you like Blake Lively or Jason Clarke enough to sit through a boring movie starring them.

Seen at TIFF 2016.

Greetings again from the darkness. Director Marc Forster has crafted a career of making movies that are readily watchable, though for the most part, not especially memorable. These include: FINDING NEVERLAND, STRANGER THAN FICTION, QUANTUM OF SOLACE, WORLD WAR Z, and his best film, MONSTER'S BALL (2001). His latest falls short of those, but thanks to Blake Lively and some creative visuals, we remain interested enough.

This is Ms. Lively's follow up to last year's surprise summer hit THE SHALLOWS, her nearly one-woman sea-based spectacle. This time out she does an admirable job of carrying the film in spite of script flaws. It's co-written by Sean Conway and director Forster, and despite teasing some fascinating psychological aspects, we find ourselves constantly waiting for the movie to show us what we already know is about to happen. Predictability is rarely an asset for a film, and here it acts as a ball and chain to the pacing.

The first third of the film works to establish two things: what Gina's (Lively) daily life is like as a blind person, and the type of relationship she and her husband (Jason Clarke) have. We get an abundance of distorted light flashes to simulate what she has lived with since the car accident that took away her parents and her vision during childhood. Her marriage finds her very dependent on her husband and Clarke's character thrives on this … even giving brief glimpses of his demented personality that will eventually take over the film in the final act.

Gina's doctor (Danny Huston) performs a transplant which successfully restores her vision. The bulk of the story revolves around the changes that vision brings to her life and how the marriage begins disintegrating. The best message here is what happens to a relationship as the individuals change and evolve. Specifically in this case, the wife gains an entirely new perspective, while the husband longs for the days where she was dependent on him.

At times it feels as if director Forster is working hard to create the look and feel of an experimental movie, rather than focusing on the story. There are some interesting visuals provided by locations and camera angles, although the moody atmosphere never really clicks. Ms. Lively singing "Double Dutch" provides an ending that is both odd and mesmerizing in a strange way. We are reminded that evil and self-centeredness can take on many forms, though this film never quite packs the dramatic punch it should.