Amantes

A simple love story about a 30-something schlub (Joaquin Phoenix) who gets involved with two women. One is a perfectly decent woman with her crap together (Vinessa Shaw). The other (Gwyneth Paltrow), the one he's really hot for, is a screw-up, drug-addled and dating a married man and hoping desperately that he'll divorce his wife and leave his kids for her. Of course, it's not the smartest thing in the world for Phoenix to fall for Paltrow, but, hey, love is pretty unpredictable. She is so much like him, it makes perfect sense. I have a couple of big complaints about this film. First, it all plays out very predictably. Add these three people together and you get the sum long before the end of the film. Secondly, and perhaps what bothered me most, Phoenix and Paltrow seemed too old for these characters. Sure, there are 30-something losers all over the place, but these two seem to me to act like 20-somethings. They're lost in this weird limbo of childishness that seemed wrong for people their age. Even Shaw doesn't quite seem like a real human being. Like Phoenix, she seems dependent on her parents like a college student. People just never seem like real people in this movie. That said, the film does have sort of an "off" tone that is intriguing. It's a very claustrophobic and tragic tale, and it captured me in that way. I didn't love the film, but I definitely found it interesting.

Perhaps, the most startling aspect of "Two Lovers" is Joaquin Phoenix's performance. Superb. I haven't really liked any of the James Gray's films, until now that is. There is something profoundly moving and profoundly truthful here and I'm sure it has to do with Phoenix's portrayal. Gwynneth Paltrow is wonderful as the girl walking an emotional tightrope. And Vinessa Shaw is a real find. I was also moved by Isabella Rossellini as Joaquin's mother! Beautiful and intense but unlike many of her contemporaries not "cosmetic" A real extraordinary face. In fact she looks more like her mother Ingrid Bergman now than she ever did. So, a smart, romantic "dramedy" with wonderful performances. When was the last time I was able to say that? Go see it and tell me if you think I'm exaggerating at all.

I wasn't expecting to go to this film, I didn't know anything about it, a friend and I went to the cinema, looked at our options and chose this.

Having no expectations, not having heard or seen any hype about it, I was surprised at how much I enjoyed it. I think all aspects of a *good* film are present. It is beautifully shot and quite brilliantly acted which together created the right, moody, slightly claustrophobic atmosphere for this rather bleak, sometimes humorous, story to progress.

We're given a brief, intimate insight into three damaged individuals lives and I think ultimately shows us some conflicting concepts that arise from the pursuit of love and happiness, and familial duty.

I'm pretty certain this is the best film I've seen so far this year. While there's no way of comparing this to my last years favourite of No country for Old Men, I think this might also be Oscar material.

I use the word "normal" to mean "real world normal", meaning NOT perfect. These people have issues, they don't know necessarily what they're doing with their lives, they are on medication, the film begins with a suicide attempt. And yes, in the real world this is certainly more normal than chasing through an airport to a swelling symphonic soundtrack and declaring a perfectly rehearsed monologue to the person you love, followed by rapturous applause from everyone at the gate. "Two Lovers", while lacking in the sort of clichés and melodrama that makes theatergoers all starry-eyed, delivers one of the best love stories I've seen on the big screen.

Don't be fooled by the title; this is not a steamy tale of infidelity and illicit passion. It's about a person who is faced with a mostly theoretical choice between 2 lovers. We've all been there. Whether you're married, in a new relationship, playing the field or just dreaming "what if", in matters of the heart there's the sure thing, and then there's the crazy impulsive route.

Jonquin Phoenix plays "Leonard", a man whose life recently underwent an upheaval and who simultaneously meets 2 women: "Sandra" who is the sure thing (Vinessa Shaw) and "Michelle" who is the crazy route (Gwynneth Paltrow). As the relationships slowly develop (very slowly, at a real world pace), we start to see the conflict not in terms of passion & romance but in terms of life choices.

Refreshingly, Leonard is a character who knows what he wants from the beginning, so the audience isn't insulted with annoying "what should I do" scenes. Rather, Michelle is the one who represents the unknown, speculative bet in Leonard's world. As the story progresses, all of Leonard's actions are consistent with his feelings, and it's just a matter of seeing how things will play out. Again, this is such a great, unusual, non-Hollywood approach to love stories which, if you really analyze your own experiences, is probably much more in line with the way you handle yourself.

Despite this stability of the main character, the story remains unpredictable right up to the final minute. No sappy airport chase scenes here, but I guarantee you'll be riveted in the final act. If you want to see a story that you can apply to your own love life, regardless of your situation, check this out for some deep insight.

Gray's fourth film, his first without a crime element, is amazing, and surprises even with its title. It's a triumph for Joaquin Phoenix, who provides a remarkably giving and open performance even though the character he plays, Leonard Kraditor, is opaque. He's a damaged, emotionally unstable man with attempted suicides in his past: the film, cheerlessly--yet ironically--begins with yet another one. He does know his own sad history, dominated by a broken engagement. On medication for bi-polar disorder, he's been reduced to living with his parents in the Russian and Jewish community of Brighton Beach, Gray's home territory, site of 'Little Odessa,' his distinctive little first film and equally of his subsequent, more grandiloquent ones. (The last, 'We Own the Night', also starred Phoenix.) Leonard doesn't know who he is or what he wants. He may not dare to want anything. He's working, fumblingly, in the dry cleaning establishment on the ground floor that's owned by his Pop, Reuben (Moni Moshikov). He's lost clothes making deliveries; and he's lost himself.

A friend of Leonard's father, Michael Cohen (Bob Ari) has a small chain of dry cleaners Pop's going to merge with. Cohen has a daughter, Sandra (Vinessa Shaw), whom the parents have set up with Leonard. He's only a little interested. But he does take her into his little boy's bedroom to show her his black and white photographs of destroyed shopfronts. He's so needy, he welcomes any attention. Sandra is very interested in him. She finds him not odd, but special. And she has a sweetness about her than lingers in the mind.

But then another woman unexpectedly appears: a new neighbor, the blond and dangerous Michelle (Gwyneth Paltrow). Even at their first meeting in the hallway she's in trouble, being verbally abused by her visiting father, and in need of comfort and protection. And from then on whenever Michelle calls on Leonard, however bad the time or awkward the occasion, he can never say no. She's pretty, even glamorous, but also unhealthy. She's been on drugs. Leonard can see her window upstairs from his room, and she becomes a glittering object of desire, so near and yet so far. Because he wants her, but she thinks of him from the first as like a brother.

So there are the "two lovers"--Leonard's two women, Sandra, who knows his problems and wants to take care of him, and Michelle, who knows them and takes advantage to make him a comforting pillow in her troubles with Ronald (Elias Koteas), her married lawyer boyfriend. Michelle has Leonard come to a fancy restaurant to meet Ronald and size him up, tell her if he thinks Ronald will ever leave his wife. Instead, while Michelle's in the ladies' room, Ron asks Leonard to watch out for her and see that she's not using again. Then Michelle and Ron go off to his firm's box at the Met and leave Leonard in the company limo. It's a sobering moment that defines Leonard's lostness and the film's originality.

Leonard seems a misfit and a loser, but when Michelle takes him clubbing, he does some rapping in the car and break-dances wildly; he's got some game, somewhere. He also has those strong Jewish Russian family ties that run through Gray's films but don't save his protagonists from disaster. His mother Ruth (Isabella Rossellini, with a severe haircut) watches kindly over him and both his Pop and Cohen are ready to look out for him too. Shooting photos at Cohen's son's bar mitzvah, Leonard is part of a community, however awkwardly. He meets Michelle up on the roof. She doesn't fit in. But he wants her desperately. Meanwhile Sandra declares her love to him at a beach-side restaurant with complicated blue napkins.

'Two Lovers' is aswarm with an elaborate sound design that can be obtrusive. Background music overwhelms conversation at a family gathering, and an echoing passage from 'Cavalleria rusticana' is a bit overdone. It's more firmly glued together by images of long subway rides and dark expensive cars. Though the latter may seem leftovers from Gray's 'The Yards' and 'We Own the Night,' Gray has done a good job of downsizing from those while holding onto their resonance.

Joaquin Phoenix's performance is awkward in a way that would be very painful if it didn't feel so authentic and real. His Leonard is pathetic and lost, but has an inner core of goodness and generosity that makes it seem there may be hope for him. He's a real sucker, but he's a real decent fellow. Leonard has nothing, and so he is ready to throw away his life and throw it away again. Gray goes back to the smallness of his first film, but with a far greater intensity. Leonard's crises feel momentous. Their resolution is a quiet, mute shock. As in other Gray films, the hero blends into a party, and a family network. This time the sense of family and ritual is more offhand and organic than in the preceding two films.

'Two Lovers' has powerful moments. It's like a good short story and it has a surprise O. Henry ending. The performances are uniformly fine. The texture is thick enough with a sense of people and places to override some implausibility in the events. Phoenix's performance will have detractors who find Phoenix too awkward and say it's just as well he plans to quit acting after this for music. But on the contrary this movie made me see how disarming and unique the actor, once overshadowed by his dazzling brother River, has come to be at 35. It would be sad if he left the screen.