I Want You

One of the best movies I have seen this year. Michael Winterbottom proves to be a truly versatile director with this film about love, loneliness, sorrow and obsession in an English coastal town. The use of Elvis Costello's song "I want you" as a theme throughout the film is superb. It leaves you with a strange and yearning sensation that will last for days. The cinematography is so very good, thanks to Kieslowskis photographer Zlavomir Idziak who also filmed "Gattaca" creating a similar visual style. Wonderful yellow, green and blue renders a supernatural, poetic feel to the characters as well as the town. You watch with the feeling that anything can happen, and it does.

The casting of this movie is almost perfect. Rachel Weisz is equally true as the both innocent and dangerous Helen as she was in "The Mummy" playing a librarian with vigour, looks and brains. I predict hers to be a great career. Make way, Kate Winslet and Helena Bonham-Carter! Alessandro Nivola as Martin is just as persuasive. He is scary, touching, pathetic and assertive all at the same time, consumed by an obsession with Helen fuelled by eight years in jail.

The only thing that bothers me about this movie is the way it abandons the mute boy and his sister's story to concentrate on Helen and Martin. However, this is a minor detail in a movie that often bears visual reminders of Derek Jarman at his very best. The very self-conscious references to "Romeo is bleeding" and "Red rock west" will probably ensure a similar cult-following before long.

I agree with most of the other reviewers comments, but the viewer should know that this is not mainstream stuff, it's alternative, sort of like "High Art". If you like standard slick Hollywood stuff, this won't be your bag. Scenes change quickly, and at other times dawdle over a mood. The sex is alternative too, no standard love here. The acting is adequate, and the cinamatography is rural grundge UK, nothing pretty, not one nice English garden anywhere, mostly mud and weeds. If you've got broad tastes, give it a try. -Bob

'I Want You' is unique, transcending British cinema in one easy leap. What the film offers that makes it special is a portrait of obsessive desire and compulsion framed quite brazenly in an English coastal town. Cinematographer Slawomir Idziak (of Three Colours Red/White and Blue fame) commits to celluloid a most distinct and unfamiliar slice of life in a claustrophobic town, complimented superbly with Winterbottom's direction.

The cast although largely unknown (with the exception of Weisz and Nirvola) effortlessly demand attention and understanding and the development of these characters is really what the film is all about.

'I Want You' consciously refers back to cult films like 'Red Rock West' and 'Romeo is Bleeding' and here it seems Micheal Winterbottom may just have produced an English answer.

This was an interesting film with some very quirky characters.

Honda (Luka Petrusic) is a tall, thin 14-year-old boy who usually went everywhere at kind of a gallop, and is a mute. He lives in a house on the beach with his sister named Smokey(Labina Mitevska)--he also has a little hideaway in an old boat that has washed up on the beach.

Honda has a rather strange hobby of listening constantly to other people's conversations and other activities, and recording them.

Honda can even record people in a car not too distant from where he is, and he even has mobile equipment.

One day Honda runs into a beautiful young woman named Helen(Rachel Weisz), quite literally. After making her acquaintance, Honda and her become friends.

A young man named Martin,(Alessandro Nivola)out of prison and on parole, with whom Helen was previously involved, is stalking her.

Smokey, a sultry nightclub singer, who has a very unusual hairstyle, upon meeting Martin, becomes very interested in him.

All four of these people have some psychological issues. Helen - has some obvious sexual problems Martin- is a stalker Smokey- is going to bed with every man she encounters. And Honda with his muteness,eavesdropping and obsession with Helen is also in need of Dr. Freud.

We discover as the film progresses, why Honda is mute and what transpired between Martin and Helen in the past.

How this all concludes was quite surprising and unexpected to me.

8 stars

I really liked this movie. I can't quite figure out why, however. It's not quite the psychological thrill that it was perhaps intended to be (we never really get into the head of Martin, a man obsessed with his old love, which most people think is what the film is supposed to be about), and the relationship between Helen and Honda never really becomes a focal point, but like City of Lost Children, it gains a lot of points by simply being a unique viewing experience.

The relationship that Honda has with Smokey (his sister) and Helen are realistic and almost heart warming. It would have been a more enjoyable movie if it simply focused on the trio, but the movie is very intelligent and thought provoking as it is.