Sorry, this movie sucks

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

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

There is undeniably a profound fusion of parallelism in this film coming from its opening salvo - the confessional scenes featuring people and their views on love until unfolding its relevance to the main characters. There is a thin line of simile showing how they all define love - how they and we tend to fall for the idea of it but run away once we are caught in its pit.The creative treatment of the director reflects much of his adeptness to communicate beyond the superficial - there is an interplay of lighting with sounds, the slow motion of scenes that matter, the elimination of words and letting the eyes speak of dialogs we all have in mind - there is a cobweb of HARMONY in this film.The plot which is initially defined as "love triangle" is highly underestimated as this is beyond your typical love triangle where two people are strangling themselves for the love of one. This speaks of the love triangle we humanities have within ourselves. There were insecurities, fears of rejection, thirst for freedom and acceptance.I am still hungover with its soundtrack, its symbolisms (the rain and umbrella scene), its script about crossing oceans for the one you love and ending up wanting just the distance, its last scene which will make you think - it wasn't a bizarre love triangle after all. It was just the two of them from the start and they just wanted another soul to tease, to love.

Superb. Xavier Dolan, "infant prodige" of Canadian cinema, follows his semi- autobiographical "I Killed My Mother" with a probably similarly autobiographical opus, also in quebecois, about falling in love. It turns on a menage a trois with a twist which sets it apart from "Jules et Jim" etc.: a man and a woman are enamored of the same man. It is an otherwise familiar tale of unrequited love, but told and shot with tons of metrosexual (in Simpson's original sense) style and sophistication.Old friends Francis and Marie find themselves in pursuit of the same decidedly un-obscure object of desire in the person of Nicolas, an Adonis who proceeds to tease the two and play them off against each other at his leisure, until they ultimately clash. In the meantime, the two take other lovers to work off the sexual frustration that inevitably comes from the fruitless chase after Nicolas. These night moves are deftly filmed in slow-motion and unearthly light that makes it look as if they took place on another planet - a metaphor for where the two might just as well have been as far as their minds and hearts were concerned at the time. The degree of their love-jones over Nicolas can be gauged by the snaps of Michelangelo's David that float on the screen in montage as they raptly gaze at him gyrating at a party. Interspersed in the narrative are soliloquies by assorted young adults apparently out of any character, simply talking about their own heart-pangs and amorous angst. Lacking any direct bearing on the plot, they turn up and rattle on like the personae in the video works of contemporary artist Ryan Trecartin, whose primary-color interiors have something in common with those of Dolan, come to think of it.Blonde-headed Nicolas bears a strong resemblance to Tadzio, but unlike in "Death in Venice," there comes a moment of truth for both of the smitten, who cast away their formidable pride and bare their hearts, only to have them brusquely, almost cruelly, broken, one after the other. The end. Or so I thought.But there is a brief yet delicious denouement, in which we learn that, happily, neither Francis nor Marie has the self-destructive inclinations of von Aschenbach or the never-stop tenacity of Frank Raftis in "Falling in Love." They get over the hurt, repair their friendship after the damage done by the quarrel over Nicolas, and before long are again popping up together on the party scene, surveying the crowd for new prospects. In the wry final frame, they simultaneously sight and step towards a new prey, from whose perspective they must look quite like the vampiric couple Adam and Eve as they pounce in the very last shot in "Only Lovers Left Alive."Some reviewers reflexively mention names like Truffaut and Godard when gushing about Dolan, but his loquacious, mensch-centric approach calls more to mind another actor-cum-director - right, "Les Amours" could better be likened to a way-cool, 2010-upgrade "Manhattan." - J. Koetting

The French 'In the Mood for Love' duplicate art-film which manages to miss the art and barely hit the film. Xavier Dolan's Les amours imaginaires or Heartbeats is a sensual, potentially immoral and audiovisually evocative investigation of love, jealousy and desire (for sex) using all but obvious glances, nail-biting, and fidgeting to convey to prevailing mood. Its "shade-throwing" and now-cliché revelations about modern sexuality fall flat but it is still intriguing in its execution and insight into modern continental culture; it is 'The Great Beauty' without the great beauty. More in the mood for sex than In the Mood for Love; yet somehow by the end, I couldn't get enough of it.I would recommend the film if you liked either 'The Great Beauty' or 'In the Mood for Love', which I did greatly, and vice-versa I guess too.

First off, let me say that this movie is very chic.The pacing of the main plot is inter-cut with clips of other characters discussing their own romances or failed romances Harry Met Sally Style - except the tales that these characters are relating is nowhere near as cutesy.The basic plot of the movie is thus, a gay friend and a straight friend both have the hots for the same super-smooth blond, Nicholas (Niel Schnieder).Both Xavier's character (who seems like he is Xavier himself) and Marie, played by Monia Chokri are friendly and flirtatious with the object of their affections - but in the end all is for naught and the player chooses neither.The look of the movie is sleek in terms of style and there is a lot to enjoy here in terms of character development and dialogue. It also neatly avoids happy skip into the sunset endings in favour of brutal realism.