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Very disappointing...

For all the hype it got I was expecting a lot more!

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Its a movie that has many levels of interpretation and depth. Franco was great....abit flat, but I think his character would be, naturally. McAdams is great, but her "French" accent was not so good. Her "normal" voice came out and her french accent seemed a bit forced and unnatural. Sorry...I love her acting, otherwise. The female characters were all a bit pushy....like they expected Franco to be different than his true self. The "Artsy" people in this world are more misunderstood than your everyday person. I completely understood each character. I've been where they have been. A very relatable movie to me. A bit slow....but I liked the slower pace......The kid, Christopher, an odd kid...The mom was kind of odd too, but small town people ca be more odd, due to isolation...etc.....she was a stay at home mom with a very simple job.

This movie is an absolute delight for the senses. The cinematography and soundtrack are stunning. There are many jaw-dropping moments where one can't figure out how the lighting could be so gorgeous, and the soundtrack adds a level of beauty that lends tangibility to this profound story of forgiveness and acceptance. If you watch this at home, dim the lights and put the phone on airplane mode, because you don't want to miss a moment of this delicious sensual feast. If you are fortunate enough to be able to see it in 3D on the big screen, bring along your favorite loved one and share the experience.Did I forget to mention the director? Anyone who has followed the cinema of Wim Wenders knows of his unique ability to conjure a magic like no other. It's like looking through a window of his eyes, noticing the things only he sees, the feelings he only he senses. Obviously, this is not for everyone, and there are expectations of a more traditional form of storytelling for some. But the man is a poet, telling the things that can not be told, showing the things that can not be seen.It seems as though Mr. Wenders has used this magic with each of the actors, as there are many moments when one watches the expression of the mysterious emotions that emerge in this powerful story without a word. A true feather in the cap for James Franco, Charlotte Gainsbourg and Rachel McAdams. They each explore new techniques and territories in their acting, and work wonderfully with each other.

It happens rarely that I disagree with the majority of the film critic reviews to such an extent as with this film. So, without repeating the plot here for the hundredth time, I'd like to jump straight into it: Contrary to the general feeling of slowness and flatness of the film, I feel that the story and the script called just for this sort of painfully slow, cinematic and gently nuanced filmmaking and Wenders is the master of this type of cinema. Yes, there are clichéd conversation exchanges including the somewhat melodramatic ending, however, the more alert viewer will have already been warned in advance that such will be the case in a scene right before the final sequence, so one is not surprised and can enjoy Tomas' agony to the very last second. Also, I very much enjoyed the cinematography and music, which is the best company to the lonely and painful journey Tomas is going through - a guilt and inner scar that is there to stay for life and one can only have little hope to get rid of such a stone ever. There was also a comment of one reviewer about the flatness and "lack of arc" of the female characters in the story. I disagree that this is the film's flaw - quite the contrary again - it is only very well crafted as such - as the women (actually, as well as Tomas' editor and father) only appear sort of "at the periphery" of his life, doomed never to fully understand his inner notions - a combination of a struggle as a lonely artist only topped by the tremendous guilt and pain he has to live with. The only meaningful connection he has - amazingly perverted, yet understandable at the same time - is with Kate, portrayed - yet again - so mesmerizingly by Gainsbourg, that can hardly breathe during their scenes together. The only flaw that I see in this film is the casting of Franco as Tomas. I don't really understand this choice because even though he is a great actor, this role, I feel could have been better fit to a less "boyish" actor, who could grasp all the weariness of Tomas' everyday grey and burdensome reality a bit better.. However, Franco does his best here and it shows he does get the thin line he has to walk on never to flip the character into too much melodramatic position. So, overall, quite an achievement again for Wenders and the whole crew for keeping this film balancing on the thin edge of the knife the film's tone depends on.

Exceptionally well acted by James Franco. Beautifully layered storyline. Its storytelling is right on par with the story itself. Really modest in its presentation, but grand in its effect. Robert Naylor also deserves credit for some fine acting. I hope this piece of art won't be underrated, because the story really is just a plain portrait of life, without any fuss. It struck me, with all its characters in it. Please take note of James Franco reading his letter from teenager Christopher so beautifully human. And the score is beautiful! Its cinematography is well crafted, there to deliver. I can't see why people would think this is a pretentious presentation of camera styles.