UnowPriceless hyped garbage

ChicRawIdol A brilliant film that helped define a genre

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

rednik-993-681332 This is another film stultified by self-conscious direction and faddish photography. I have had enough of blurry, shaky, false colour cinematography for the rest of my life. Watch a Clint Eastwood directed film and see story-telling, in-focus, at its best. See also The King's Speech for developing characters. A Few Days in September had a good cast with wonderful actors like Binoche and Tuturro, although Binoche was not capitalised. Unlike other reviewers, I found the young people's discourse right on the mark for generation Y. Tuturro's psycho character might be an accurate parallel for what the American state thought was acceptable at the time of the story. Who knows, American international behaviour has been much more bizarre that Tuturro's character at times. Maybe too, a Venetian contact provided the large case and heavy calibre rifle locally rather than has been suggested that it was taken through customs. Despite its serious flaws, I enjoyed the story, and just seeing Binoche a lot in close up, such a wonderful face to photograph. To the director, don't forget that someone has to watch the film and does not need to get irritated by art for art's sake, especially when it "ain't Picasso". The version I saw did not have sub-titles and this hurt the film for me because my other languages are not European or Arabic. I look forward to more of Binoche and Tuturro but not blurred vision. It was not, as Binboche suggested, another way of looking at things.

writers_reign Santiago Amigorena co-wrote one of my favorite French movies of the last few years, Marion Vernoux' Rien a faire, so I checked out Quelque Jours en settembre with high hopes. Whilst it would be untrue to say those hopes were dashed this IS a film that in refusing classification will alienate as many, if not more, than it intrigues. Any movie that boasts John Turturro as a hit man named William Pound - or indeed as a hit man at all - has to be intriguing to say the least but almost as if that were not enough for Amigorena he embellishes the character by having him spout poetry in addition to being in analysis via cellphone. The film veers wildly and erratically between black comedy, thriller, incest, world politics and travelogue and to expand on just one of those labels it's a thriller shot at the pace of a Merchant/Ivory period piece. The out-of-focus sequences favored by Amigorena break the rules because they are NOT always from the point of view of Juliette Binoche - who periodically removes her eyeglasses to justify the effect but against this the camera-work plays down the two principal locations, Paris and Venice, and is refreshingly free of 'touristy' angles. It was, of course, only a matter of time before someone got around to speculating on the conspiracy theories surrounding 9/11 and this is, I suppose, as relevant as any but will inevitably seem like a let-down to the bubble-gum set should they wander in by mistake. For the rest of us it's highly watchable on several levels which is more than sufficient.

derek-347 I don't understand why a few people are raving about aspects of this movie - are they related to the film in some way perhaps? - because I really wanted to like this after everything I've heard, my love of French cinema, and the fact that John Turturro is one of the best actors out there. I won't give away any spoilers, but frankly, don't bother. I'm not sure who coined the description "thriller" for this but it ain't. And frankly there's nothing else in the movie to redeem it, everything gets at best nine out of ten. The actors turn in performances that they were asked to do - you can't really fault them here - but the director's pointlessly obsessive playing around with the focus is at best irritating, but mostly just tiresome. The word "dilettante" springs to mind. There isn't anything to "get" here that you might think you're missing, and anyone who puts this in the same category as Pulp Fiction or any other movie with a semblance of action, humour or even a decent narrative, doesn't know what they're talking about. Even the romance isn't worked properly. Sorry to disappoint, it's always a good thing for somebody's pet project to reach the screen, particularly a serious French attempt at grabbing an international audience, but this movie is ruled by a director who needs a tougher producer and an editor who has the capacity to say "no" more often.

lefrelonvert Other than good performances from Juliette Binoche, Sara Forestier and the likable newcomer Tom Riley, this movie doesn't have much to recommend it. Aiming to be a "metaphoric" spy movie about the evils of secrecy and the wounds of childhood, the film fails for having plot devices instead of characters and a sloppy, unconvincing direction, resulting in an overall bore. We are also treated with highly annoying anti-American propaganda. Nick Nolte pops up in the last ten minutes like a poor man's Colonel Kurtz but his appearance comes too late to wake up the movie. For works playing successfully playing with the thriller genre, try some of Paul Austers'books or Wim Wenders'earlier films instead. Skip this one.