Russ-79 I see a movie to be entertained, not to watch someone I don't care about screw up their life by making bad decisions and by alienating everyone in their lives, their family and friends. I love character driven movies, but give me characters that I care about and who are care-able about, not obnoxious, narcissistic people who I wouldn't want to be friends with in real life. The main character Laura, it too lethargic, indecisive, and uncertain. She seems mired in life and only by breaking free will she blossom, however twice she picks the wrong man to have an affair with, and the man she's had a baby with she's fallen out of love with. This is too depressing. After viewing this film, I'm sorry to say, I felt like I'd wasted two hours of my life. I'm sorry to give a bad review, but I felt like I should warn others who feel like I do. One more thing... is there any reason the characters can't be in focus at all times? Don't they make autofocus cameras in Hollywood?

Ben7 Not the movie, but rather this review.Dorothy Kilgallin once famously wrote the shortest review on record of a Broadway play: "The House Beautiful" is the play lousy.I'm going to top her in brevity:"Fourty Shades of Blue" blew.My friends, it was an endless soap opera wherein well-dressed characters with a clean place to sleep and full bellies, along with servants to do the sh*t work and apparent good health, mope around and screw up their lives.Nobody appreciates what the others have done for them, nor their blessings from On High. They're bored, as was I attempting to stay awake watching them.In recent years, moviegoers have benefited from an obsession with pace by directors, resulting in many good scenes sacrificed on the altar of retaining viewer interest. Some appear on Deleted Scenes reels once the DVD comes out.This depressing tear-fest just ambles along self-indulgently, ending not far from where it began, and robbing the viewer of an hour and 47 minutes of his or her life in the process.If you get the DVD from your library (don't even think of wasting good money renting it), you'll be "treated" to a companion short by the same director, wherein an arrogant codger wheels and deals from his hotel bed in Russia, while apparently getting a little young artist 'tang on the side. I dunno. I watched the thing three times, but couldn't pay attention to it. The Beatle-coiffed sexagenarian was following a leggy pianist through the subway, and he might have scored. He looked happy enough the next day.

Gregory What's great about seeing films as part of a film festival is that most of the time they've received little or no advance word-of-mouth. For me that makes encountering such films a very pure experience, having no expectations, just open to whatever story the filmmaker wants to tell. I hand myself over to the film and see where it takes me.Within 15 or 20 minutes of watching this film, where it took me was straight to my left wrist to check my watch. For me, watching this turtle crawl was one of the more excruciating experiences I've had in a theater.Spoiler warning, as above, and now here's the problem: a boring lead character who is bored and depressed spends the length of the film bored and depressed and ends the film bored and depressed. Guess where the audience winds up?What's fascinating about the film for me is the director's insistence upon scenes that literally do nothing a go nowhere, telling us nothing. In one interminable sequence, our heroine walks around, looks at furniture, lays down on a bed, looks at the ceiling, stares at nothing, you get the point. With each edit the audience anticipates-- perhaps even prays for-- something, anything to happen in the next scene and there is literally no payoff.Case in point: laboriously, slowly, she makes her way to a closet to pull a journal off a shelf. What will be in it? Some secret we don't know? Alas, it's a blank page. Now she's grabbing a pencil. What will she write? Is this her suicide note? Alas, we don't get to see what she's writing. Will it materialize later in the film? A crucial plot point to be revealed at film's end? No. Unfortunately this waste of 5 - 10 minutes of screen time literally goes nowhere, tells us nothing, and provides no break to the depressive monotony of the 90 minutes preceding it.She's dropping her kid off at the day care. What will she do? What will happen? Nothing.This is the case the entire film. It got to the point where the pointless culmination of each exhausting sequence elicited derisive snickering from those around me in the theater. As we exited, a thirtysomething woman behind me commented, "Every one of those people needed some caffeine or some prozac." Hear, hear. As did the audience by that point.I don't know the work of Sachs, but it seems that Sachs was aggressively bound to make a film that flies in the face of conventional wisdom. Sachs would make a film in which our heroine makes no journey, learns nothing of herself, and winds up depressed and miserable, precisely where she started. With claustrophobic framing, dark and dreary colors, and an almost pervasive lack of music to break or enhance the mood, it's almost like Sachs was determined to leave the audience miserable as well.Even the brilliant Rip Torn can't elevate this pointless dreck above the sensory experience of watching wallpaper dry.

Jimmy Spark Film-making with such an eye for detail and nuance is rarely to be seen in America and I'm overjoyed that the Sundance committee stepped forward to recognize it. Forty Shades of Blue is a fascinated witness to heartbreak and refuses all melodrama, all sentimentality in favor of fully lived characters that are shocking in their naturalism---the Russian actress in particular is astonishing but what is even more astonishing is the subtlety with which the director observes her. It is the most careful portrait of loneliness I have ever seen.Unlike most directors who point us in every frame at their star or their theme, Sachs--like Robert Altman--often points out details and people of the setting (Memphis) so that we are quite sure we're not seeing actors at all, and the effect is not the closed-room feel you would expect of a love triangle, but a place and time fixed forever by the lens. Ira Sachs has coaxed great performances from his actors, his hometown and the musicians who perform like a Greek chorus throughout. It's quite a masterpiece.