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When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Serendipity and coincidence are phenomena we experience every day in this strange world of ours. There are even songs about it – think "Ironic" by Alanis Morissette. No, a free ride when you have already paid is not ironic, but it is coincidental and surprising – just like a dozen or so people's lives colliding in the middle of the night in the middle of Oslo. That is the story of Erik Poppe's "Hawaii, Oslo," and through these moments of serendipity and tragedy, we are introduced to a host of tough spots, hard issues and happy coincidences that force us to question the concepts of fate and chance.To tie these stories together with simple words would be a struggle – their stories are many- faceted and hopelessly intertwined. The story starts with Leon, who is waiting for Åsa, who crosses paths with Magne and Mikkel, who have a deep but mysterious connection to Bobbie, who forms a relationship with Viggo, who delivered the dying child of Frode and Milla, who, desperately seeking care, cross paths with Trygve, who is Leon's criminal brother. And to top it all off, there is the character Vidar, more or less an angel with premonitions that send him all over the city, encountering nearly all of the characters, in his search for Leon. Please, let me confuse you more. However, in the two hours it takes to establish and connect these stories, we get an overwhelming sense that these are normal people with normal lives in a very abnormal 24-hour period of time. The reason for this abnormality is fate, chance, coincidence, serendipity – nobody understands the concept quite the same way, but it that which makes the world so wildly unpredictable and brings about the miracles that some are so baffled by they can't help but attribute them to a higher power. Some people call it God's will – but maybe not the Norwegians.So how do you convey so much anguish and excitement into just a couple of hours? It starts with the plot. Without giving too much away, there are many plot devices that bring these people together. There is birth, death, illness, love, grief, suicide, promise, theft, desperation and a sense of the divine. There are posters, ambulances, hospitals, pills, churches, restaurants, parks, parties, pets and jails. Somehow, all of these people experience all of these emotions in all of these places together. And it connects them in a way neither they nor we can fully understand.Then there are the technical aspects. The movie is filmed with a hand-held camera, which brings a reality to the characters' struggles and successes. It is almost as if the viewer is there with the people, experiencing their emotions and more, because we as a viewer know that there is so much more complexity to each situation than the individual characters can see. This simultaneously brings a sense of grandeur and simplicity to each scene, as we realize that the world is as complex as the film, and in every moment we experience, there are billions of other people having experiences around the world, many of which likely connect in some way or another to ours. There are countless connections happening every day to everyone and we simply don't notice because of our limited perspective.Another element of the film that contributes to this sense of mystery is the music. To me, it sounds like a creepy birthday party – coincidentally, something that actually happens in the film. The whole thing is very suspenseful, hinting that things are relatively dandy right now, but they may not be what they seem, which more or less describes the lives of each of these characters; Things seem all right, until they are not. The quality of the music, a sort of conspicuous xylophone that you cannot ignore, perplexingly contributes to the realism as well. Because the music is so obvious, it is clearly an addition, something that could be tossed in to a documentary without distracting from the truth of the image.Personally, I think this movie is not only entertaining, but also a very successful and thought- provoking film. It sets out to explore the idea of coincidence and how the world is so much smaller than we think, and it does so without being cheesy or unbelievable. It is suspenseful, yet not frustratingly so. And the film is unique – there are very few films that do such an incredible job of informing the audience, maintaining suspense and pulling so many different story lines together. This seamless merging of stories, themes and sensations helps the audience to focus on the deeper motifs of fate and coincidence and leave with contemplations stirring in their head.

Hawaii Sucks! This movie, however, does not. Great movies make you question your own understanding of the world and your place within it. Hawaii Oslo delivers with unique questions, themes, and relationships which demand the observer to watch, comprehend, and believe. The movie, set in Oslo revolves in a unique patchwork way around Hawaii, first as an alternative reality to Leon's brother being incarcerated and second as the bar in which Leon and Asa would finally meet. The use of Hawaii represents the main theme of the film which maintains throughout and entices the viewer; that all is not as it appears. The use of which can be seen in the characters, their relationships, their actions, and within the film itself.The characters themselves represent a contradiction of realities; Vidar seems to be able to witness events which have not occurred. We witness this reality in the opening of the film in which Vidar dreams that Leon is struck by an ambulance while running, yet the ending of the film makes us question his ability. In addition Vidar and the paper girl share a unique moment when both describe the other as not who they appear. Additional character divisiveness exists in Frode the father of a baby who is born with a unique heart defect – this man who appears at the outset to be only concerned with his self, but by the end has given away all that he is and risks jail time for the life of his child. This is only compounded by the mother of two young men who have lost their father, who we meet attempting suicide (only successful with her cat), but by the end is working diligently to reclaim her boys and build a life for them. The distinct realities of the characters makes one question their own role in life; for these individuals self-sacrifice to another either saved them or brought out the best in them.Relationships within the film also present a contradiction of reality, in both Leon's relationship to his brother and the mother to her two boys. We find Leon's brother in prison for armed robbery, yet Leon is told and believes to some extent that his brother is in Hawaii the whole time. Throughout the film Leon is used by his brother for his own ends and Leon's one true goal in life, to meet up with Asa, is almost lost to his brother's actions. Instead we find Vidar being more of a brother or guardian angel to Leon than his own flesh and blood; looking out for Leon's safety and goal at the expense of his own health. The same is true for the boys who found a family with one another and whose mother seemed to give little concern for them and focused instead upon her depression. Relationships within this film carry a two fold message: 1. that family does not necessarily equate to blood ties and 2. That a true friend or family member is willing to sacrifice themselves for those they care about.The actions of the characters throughout the film define this concept of self-sacrifice for those who you care, but also demonstrate that focus upon one's self eventually leads to fruitless ends. Whether we take the example of Vidar and Leon, Frode, Leon's brother, or the mother and her children the outcome is the same. Those that in the end were willing to look beyond themselves for the benefit of another were rewarded or at least felt as though a burden had been lifted, while those whom stayed focused upon their self, namely Leon's brother, received only added burden. This idea is intriguing throughout the film for as one watches, one can not help but realize the extent to which each of the characters, with the exception of Vidar and the paper girl, are wrapped up in themselves, their careers, their goals, or their loss.Finally, the film overall presented a reality of Vidar's dream at the beginning of the film and a series of events which lead to an alternate, but similar conclusion. The film's use of Hawaii flower breaks exacerbates the feeling that the entire film rather than simply the beginning is a dream or the replay of events in an individuals head before the end. This sense of mystery and illusion adds greatly to the viewers' enjoyment, as one tries to piece the stories together and realizes how all choices and actions affect not one character or two, but all individual characters. In a world today marked by self-centered individuals, companies, and government which seek only the best for the bottom line this film has a serious and beneficial message; that your individual actions affect more than just you and that only through self-sacrifice to others can we remove our own burdens.Vidar's advice to Frode, at the birth of his son, is key to the entire movie, "Cherish it" – cherish the moments for they are all anyone truly has in life. Even if you don't like Norwegian films or believe that the message and purpose of this film would be lost upon your-self or does not apply, see it. Out of a number of foreign films I have seen this one by far had a simple message for all to take away, with a story and cinematic elements which create an excellent viewing experience, worth your time.

Director Erik Poppe presents a sophisticated and theme-oriented film that portrays love and desperation in a genuine fashion. In addition, Poppe succeeds in supplying a unique perspective of the nature of fate and divine influence. "Hawaii, Oslo" is a tale of a handful of people whose lives quickly become interconnected. The film follows Leon (Jan Gunnar Røise), a young patient in a mental institution, who is awaiting the arrival of Åsa (Evy Kasseth Røsten), a childhood friend. The two had agreed ten years earlier to meet on his 25th birthday and get married if both had remained single. Vidar (Trond Espen Seim), an orderly at the institution, is Leon's compassionate caregiver, whose tragic dreams foretell the future. Mikkel (Benjamin Lønne Røsler) and Magne (Ferdinand Falsen Hiis) are two young boys forced to look after themselves following the recent death of their father. Frode (Stig Henrik Hoff) and Milla (Silje Torp Færavaag) are proud new parents whose happiness turns to grief as they learn their newborn son has a rare heart defect. He only has a few days to live unless his parents can find enough money for a procedure in America. Bobbie-Pop (Petronella Barker), a fading singer, is introduced during her attempted suicide. Trygve (Aksel Hennie), Leon's brother, uses his twelve-hour leave from jail to celebrate Leon's birthday, a celebration that is also part of Trygve's prison escape plan. The paths of each character begin to cross as Vidar frantically searches for Leon following a dream that predicts Leon's sudden death. The film is built upon multiple themes, but love and its convergence with desperation, create the foundation. Love is portrayed in multiple forms within the film. The love between Leon and Åsa, with youthful origins, is pure and resilient, withstanding years of separation. This love is a driving force for Leon throughout the film, sending him running to the bar, Hawaii, to meet Åsa. Mikkel's tough love for his brother Magne is evident in their interaction. Mikkel's snide remarks and quarrels with Magne are not uncommon for a brotherly relationship, even without the stress of recent loss and loneliness they are living with. Mikkel's anger is largely brought on by his fear of separation from his younger brother, displaying the underlying love between them. Frode's love for his newborn son is made clear in his desperation. Frode exhausts all means of acquiring funds for his son's procedure, including the sale of all his possessions. Trygve's love for Leon, though implicitly expressed, is undermined by Trygve's choice to ignore Leon's desire to reunite with Åsa, favoring their joint escape out of the country. Trygve's desire for, or even love of freedom is strong enough to prompt him to break the trust of those closest to him and commit an armed robbery out of desperation. Vidar's love for Leon strongly resembles that of a father. Evidence of Vidar's compassion is seen in the early scenes as he prepares Leon for bed, as well as Vidar's exchange outside of the bar, Hawaii. The reciprocal of this love is displayed most prominently in the film's final scene, adding greatly to the scene's emotional effect. Love and desperation are portrayed powerfully, yet realistically. Both Frode and Trygve's desperation is raw and unrestrained, which is accurate considering their situations. Love in the film is natural and unidealized, creating a more relevant and true to life image of love. The authenticity of love and desperation is complemented by both a simplistic filming style and soundtrack. A number of scenes are shot without the use of a tripod, allowing for a more natural perspective of the scene. The soundtrack is simple and tasteful. The use of kaleidoscope scene transitions is quite clever, and highlights the interconnected nature of the characters in the story; the images in the kaleidoscope are unique, but part of the same system just as the characters are independent, but ultimately intertwined. Together, the filming techniques, transitions and soundtrack create a unique and favorable aesthetic. The portrayal of the nature of fate and divine influence is also a unique aspect of "Hawaii, Oslo." Vidar's character is perhaps the most complex in the film. Poppe presents a number of visual and spoken clues as to the true role of Vidar. His ability to foresee events while dreaming is evidence towards divine influence. Vidar has knowledge of Mikkel and Magne's father's death, without any connection to the brothers. Leon refers to him as his "guardian angel" and the white feathers that appear with Vidar in the opening and closing scenes suggest Vidar is an angelic figure. The paper girl is also presented as a divine figure. Near the end of the film, Vidar addresses her saying, "You aren't who you say you are." She responds, "Neither are you." This exchange suggests that both the girl and Vidar serve similar roles. Vidar and the girl have a crucial role in the portrayal of the nature of fate. Every character severely lacks control of his or her fate, despite the effort he or she contributes. It is only when a divine figure intervenes that the individual's desired outcome is achieved. In Leon's case, Vidar keeps him from fleeing the bar after he initially meets Åsa. It is the paper girl's hug that finally allows Mikkel to accept Bobbie into his life. And it is Vidar who takes Leon's place as the victim in the accident. Poppe presents this idea of fate and divine influence without being overbearing. "Hawaii, Oslo" provides a powerful and fresh film-going experience. The film successfully examines the nature of love, desperation, fate, and divine influence through a unique film aesthetic. Poppe depicts love and desperation in an unromanticized and life-like fashion. Fate and divine influence are examined, though subtly, leaving the final interpretation up to the audience.

I recently saw this film at a screening by the Desert Film Society in Palm Springs. I had wanted to see this at the 2005 Palm Springs International Film Festival where it had it's international debut outside of Norway but screenings were sold out so I was eager to see this as it had good reviews by those I know who saw it. Eric Poppe makes his directorial debut in this film. He had been a cameraman so experience in filming a movie was there but how was he going to direct this story and it's actors? Well this film had a wonderful cast of actors who although they may have not been individually great actors, collectively as an ensemble cast they played their parts with an authenticity that left the viewer as seeing these as real people not just screen characters. I like characters in a film and this has plenty. The implausibility of these stories weaving together is quickly forgotten and in place of the implausible is a wonderful story that you want to climb aboard and ride to it's conclusion. Poppe uses hand held cameras through this film's shooting so effectively that you forget that this is not a huge budget film with track and crane shots but a simple presentation that when effectively done presents the film in a straightforward manor that can be just as effective. No dependency on jerky movements and fast and stylistic camera movement but instead on honest presentation transcribed to film. The sound in this film is outstanding as well. Many films demand great acting performances to carry an other wise weak script. This film had good acting performances delivered from a balanced script. This is a psychological drama and a very good film and I would rate it a 8.0 of a possible 10 and highly recommend it.