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Not as smart as it thinks it is. It's not deep but acts like it is.

A multi-nationally produced film, especially you can call it a European product, but an English language film that takes place in the New York. The story of a husband and two sons of the famed war photographer who recently died in a car crash. So the film is focused to tell how they are going to cope with their loss, especially the little brother who has differences with his father. They all kind of drifted away from each other, but without an alternate they have to come together to go through it.

This is not a usual mourning theme, but sometimes I felt they forgot they're in mourning. Because the narration quickly shifts to various topics like the birth of a child, a new affair and trying to impress the girl whom the boy has a crush. So with all this, I completely witnessed a different type of film than what it had said. That's not bad, just a refreshing and with constant moving back and forth in in time to disclose some key events.

Mainly the portrayal splits into three to cover those three family members and each has its own specialty. Something like a film for older people, middle-aged and teens, all the these contents smartly joined together. Apart from the good show from the cast, the director did his best as usual, but this is not up to the par with his other works. For a watch this film definitely would do good. Since it's not a Hollywood, you won't have to worry about American film clichés, because it was developed much better and ends better.

6/10

This film tells the story of a father and his two teenage sons, who core cope with the untimely death of their wife / mother due to a traffic accident. Their grief is further complicated by a breakdown on communication.

I tried very hard to understand the story, but honestly I didn't understand a thing. "Louder Than Bombs" tries to tell a story of a dysfunctional family, but it ends up being an aimless drivel. I have no idea what the story is trying to convey. It jumps between the past and present inexplicably, and there is little continuity and connection between the past and present. And what's the fascination with decomposition of bodies? Those scenes are just plain gross. Perhaps the scenes are there to be provocative, but they simply alienate viewers from the film. Furthermore, it is not interesting to see teenagers sulk all the time. I regret having wasted my time watching this indecipherable collage of scenes.

Director Joachim Trier makes his English-language debut with the drama Louder Than Bombs, an intimate portrayal of one family's relationship and the struggles they must overcome in the face of death. The film made its debut at the 2015 Cannes Film Festival and, coupled with Trier's reputation as an acclaimed filmmaker and visionary, is sure to make waves in the indie/art house film scene.

Isabelle Reed (Isabelle Huppert) a famed photographer who felt most comfortable in war and conflict-ridden areas, was the center of her husband Gene (Gabriel Byrne) and two sons', Jonah (Jesse Eisenberg) and teenager Conrad (Devin Druid), world. No one could have predicted that she would leave behind a familial conflict of her own doing after her untimely and suspicious death. Three years after the accident, Isabelle's works are being thrust into the spotlight when a museum in New York City asks to use her photographs for a retrospective gallery installation. Her husband accepts, as he is slowly moving on with his life and sees this as a great opportunity to honor her. However, he discovers that an accompanying New York Times article speculating Isabelle's actual cause of death is set to run simultaneously with the gallery opening, and threatens to expose the devastating truth that Gene was intent on hiding from his youngest son in order to protect him. He has no choice but to enlist his oldest son Jonah to help him get through another painful confrontation.

Louder Than Bombs is an unwavering, head-on look at the human desire for connection and the need to be understood. It's obvious in Conrad's behavior by acting out and alienating himself from his father's attempt to reconnect, as well as in his brother Jonah's promiscuity, even when he has a wife and newborn baby at home. Gene's attempt to bond with his two sons is affected by his own flaws. This humanistic condition for connection is at the forefront of the film and engages the audience into contemplating how and why we act the way we do, focusing on the relationships within our own family.

What sets Louder Than Bombs apart from other films of recent memory are the surreal moments Trier infuses within the story. Disregarding the traditional method of linear storytelling by shifting between the past and the present, these added moments put visuals to feelings that have a hard time being expressed otherwise. They are not the character's dreams, rather, they are daydreams- or what one wonders about without limitations. These moments are hauntingly beautiful and stand out as works of art on their own.

On the acting front, the assembled cast could not have been better. Jesse Eisenberg is fantastic in the role of Jonah, his trademark quick-witted clamor is controlled and even understated, serving as the voice of reason in the film. Gabriel Byrne plays the widowed Gene with sensitivity as a conflicted father trying to navigate his own direction in life, who is not without his own flaws. Devin Druid embodies the angsty, brooding teenager Conrad to such a believable degree while still holding onto the innocence of being a misunderstood child. These, plus the stellar performances from Isabella Huppert, David Strathairn, and Amy Ryan, truly give the film it's footing.

The title- Louder Than Bombs– suggests an epic, grandiose drama, but instead, what Trier creates is a meditative and restrained film that is not at all loud or brash. It is a psychological trip that leads back to the celebration of one's own uniqueness coming together to fulfill the family dynamic. There is no doubt that Joachim Trier took a risk with Louder Than Bombs, but I believe his creative vision has the potential to pay off tenfold.

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Acclaimed Norwegian filmmakers Joachim Trier and Eskil Vogt has done another profound film which will be talked about in years to come. This film was chosen for the main program at this years Cannes festival, after Trier's last movie was shown in the festivals' "Un certain regard"- program. Joachim Triers granddad, Erik Løchen, participated in the main program with his acclaimed "Jakten"/"The hunt" in 1960, and Lars von Trier is also said to be a distant relative, though I haven't found the proof of that.

In this drama we meet the men, and the woman (Isabelle Huppert) of which their life has circled around. The mother died a couple of years ago in a car accident after colliding with a meeting trailer. The husband (Gabriel Byrne), which is a teacher, and the two sons has moved on, and we come into their lives when there is to be a memorial exhibition for her, when the oldest son (Jesse Eisenberg) just see his first kid being born at the hospital, and the youngest (Devin Druid) is seemingly living in his own world and in the video games he plays.

The film must be interpreted by each viewer, and will mean different thing to each one giving time to this film, but I would say the film is about awareness in your own life, as well as the difficulty in living together with other persons, especially if you don't have the communication needed.

The film is also from time to time bringing you into the thought of all the main persons, and especially into the youngest son's stream of consciousness of weird thoughts. The three men communicate, but are all keeping secrets from each other. These secrets seem more or less profound for each of them, and are all stories which should be told. How this all unravels is the excitement and tension of the film.

Well, go watch it! The film has capability to both be life changing and food for thought, and I liked it on that basis. I was expecting the film to have a stronger emotional impact on me, which disappointed me a little, but it sure will do that to others, depending on life experiences.

The style has obviously been very influenced by several great film makers, amongst them, some of the French masters. An obvious reference to me was Louis Malle's masterpiece "Le feu follet", and Luis Bunuel's "The Discreet Charm of the Bourgeoisie", but there's many more.

We've just seen the start of the magic to come out of the friendship between Joachim Trier and fellow script writer and filmmaker Eskil Vogt. I sense there are great films to come out of this cooperation.

Well worth a watch, but don't expect an action movie. Be ready to use your brain.