Karry Best movie of this year hands down!

Hellen I like the storyline of this show,it attract me so much

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

secondtake 1,000 Times Good Night (2013)Wow, a powerful, amazing movie. It's about the ravages of photojournalism—the toll it takes on the photographer and her or his family. And I think it's rather real. I'm a photographer and professor of photography, and it felt pretty close to how it works— simplified a bit, but the feeling was accurate.And Juliette Binoche is riveting. She makes the ups and downs, and the commitment to her profession, absolutely right on. Outsiders will find it hard to believe that a person can be so devoted to his or her career their children have to compromise (or worse), but that's just the normal truth of it. It's not a cushioned, safe world. And Binoche makes clear in her actions that she does it out of a real devotion to truth, and letting the world know. Admirable stuff.Those are the big themes, and the movie fills it in with both personal angles (with the father of the children and the kids themselves) and the professional one (making decisions, doing her work). It also shows nicely the huge dichotomy between the world she works in and the one she lives in. This alone is worth seeing, because most of us will identify with the safety of an ordinary home, and the devastations she photographs are so opposite.Yes, see this. It's imperfect in ways that are for film students to get into--what one reviewer sums up as the pompousness. But the overall is great stuff.

l_rawjalaurence War photographer Rebecca (Juliette Binoche) is one of the best at her job, obtaining the kind of pictures that invariably get published in western magazines as examples of the violence of conflicts in nonwestern areas such as Afghanistan or Kenya. The only snag is that Rebecca is so obsessed with her work that she cannot understand the damage she is doing to her family back in Ireland, especially her daughter Steph (Lauryn Canny).The conflict between personal and professional values forms the kernel of Erik Poppe's film. Yet thematically speaking the director is far more interested in prompting reflection on the photographer's trade. While Rebecca certainly shows a good deal of bravery in trying to get the best pictures, we also understand that she is something of a voyeur who actively enjoys intruding into her subjects' personal space. Her fondness for the close-up of suffering people is quite disconcerting, especially in a sequence taking place in the back of an SUV in Afghanistan. In political terms, she adopts a neocolonialist position of the westerner taking scopophilic pleasure in the power she exerts through her camera.Perhaps the film's most telling moment occurs back in Ireland, when Steph turns the camera on Rebecca and photographs her repeatedly. Rebecca cannot endure the experience of the lens pointing at her in such an intense manner and turns her head away, her eyes filling with tears. Would that Rebecca might understand that her subjects could feel much the same; but if she did so, then she would not be good at her job.Given the integrity with which Poppe examines this issue, it's rather sad that the film as a whole should be somewhat melodramatic. In the end the action descends into something of a tug-of-love battle between mother and family; at one point Rebecca bundles Steph and her younger sister Lisa (Adrianna Cramer Curtis) in a pathetic attempt to abduct them from their family home. Needless to say husband Marcus (Nikolaj Coaster-Waldau) foils the plot and eventually looks after the girls himself.The film makes a half-hearted attempt to draw a parallel between Rebecca's wanderlust and the rhythms of the tide (her daughter observes that the photographer is like the sea, coming and going), but unfortunately outstays its welcome: the last half-hour unfolds slowly but predictably towards an inevitable denouement. This is a shame, given the seriousness of its basic premise - almost as if director Poppe had lost the courage of his convictions.

randall-3-562343 This film deals with numerous mature themes, and handles them in an incredibly well-crafted way:> how families and children in the US are so sheltered and distanced from life around the world; > how our American dream is the target of extremists who want to blow it up; > how families can be torn apart by jobs and responsibilities that take them in different directions; > how committed the people who commit acts of violence are - we really don't have our minds wrapped around their mindsets;> how spouses support one another's work responsibilities, or not.Maybe if there's a flaw it has to do with the many theme plots it contains, but in the end I would see it again. And if you will return to see a film twice, then it had to have something of value.It you want to be entertained, this is not your film of choice. If you want to be engaged in thought-provoking subject matter, go.

sas2014 Being a Juliette Binoche s biggest fan from early days of my life is no news. However she still keeps surprising me. I was in the movie from the Start, from being a mother and having to choose ones career or the Family totally felt it. Then feeling the loneliest person on earth Surrounded with people who you love, unappreciated and somehow Misunderstood, also something close to my heart. The story line is very strong and not unrealistic. In fact one can feel why she is burning with desire to "Grab and chock people from their morning newspaper). Hours after finishing the film, still sitting analysing it in my head, well that is one hell of a good movie to me!