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To me, this movie is perfection.

This movie is the proof that the world is becoming a sick and dumb place

Perfect cast and a good story

Great movie. Not sure what people expected but I found it highly entertaining.

The second film in Wim Wenders' so-called "Road Movie Trilogy" (about as artificial a "trilogy" as the three Ingmar Bergman films arbitrarily lumped together under that banner), now available on The Criterion Collection's YouTube channel, Wrong Move (1975) starts off on a markedly different note than its predecessor, Alice in the Cities (1974). It becomes clear, in fact, that despite supposedly representing a trilogy, Wrong Move is a distinctly darker brand of Wenders, less whimsically surreal. It starts not by Rudiger Vogler singing "Under the Boardwalk" but by him punching out his windows, which can be taken as a sign of suicidal tendencies.The film continues on its dark tone while introducing its surreal elements. It is essentially a story of strangers whose lives randomly collide, and they stick together as a group for a while. The weirdness is soberly found in them discussing their dreams, and in one being a mute street performer. There is more use of blood, with the film evoking the story of a saint in the process. Vogler's character, more of a nihilist than his one in Alice in the Cities, seriously contemplates killing and comes close to it, in a scene rather intense on its first viewing.Wrong Man is at once a film that shares commonalities with Wenders' other works like Wings of Desire and Alice, but is also worlds apart. In the process, it finds its own unique voice and is a satisfying experience.

Wim Wenders and writer Peter Handke team up a decade before "Berurin Tenshi no Uta" Wings of desire (1987)(Ailes du desir) and 4 decades before The Beautiful Days of Aranjuez (2016) based on Peter's play in French to premiere at Cannes this month.It is shorter and simpler than Wings of Desire and it feels as though the whole movie is almost one take, one moment, one long reflection on the same theme of loss and loneliness, perhaps longing and love. It is poetic and philosophical, but also human. It succeeds in asking tough questions and not given easy answers. It understands human complexity and perhaps perplexity facing an uncontrollable, sometimes unsatisfying life.Momentary solace and camaraderie soon dissolves as things fall apart naturally, casually and necessarily. Much more down to Earth than somehow esoteric Wings of Desire and has a direct impact on the viewer even if often dark and detached beyond the light-hearted and hypnotic beginning. A interesting find, and perhaps one of the best movies of 1975, winning 6 German Film Awards including a deserving best direction, best screenplay and best cinematography by Robby Müller who shines on various occasion and gives a cohesive visual feel. I will look up Alice in the Cities (1974) and Kings of the Road (1976) to see see if Wender achieved similar success. Let's hope Peter Handke again gives substance to Wim Wenders now that Wenders is tackling 3 fiction films in a row after dedicating a decade and a half to creating captivating documentaries starting with Oscar-nominated Buena Vista Social Club (1999) and even better recent offerings Pina (2011) and The Salt of the Earth (2014).

Basically the story of a man who finds that six days of travel doesn't broaden his mind. Made on a tiny budget, on a very tight four-week shoot, TWM punches well above its weight. Full of incident and drama, but none of it is related to anything but the general theme of "life is sh*t and then you die" - which you soon get used to; and some of it's actually very funny. A group of six people drift together, then drift apart. All of them are disenfranchised from politics, society and love, and the dialogue is typically Pinteresque: long pauses, non-sequiturs and deep feelings not being expressed, just like real-life dialogue.Thought-provoking and haunting, beautifully filmed and acted,, TWM is a great "mood movie". You may find it frustrating if you're looking for resolution or even logic, but the observations about life and people in general are as true as you'll get. Woody Allen, eat your heart out.

Wenders' road movies of the 70s have a charm that makes them accessible to many viewers, yet are often linked by the less accessible themes of alienation and detachment. It is an interesting dichotomy and one that comes to focus with this film. Political and cultural pre-determinism are not as easily digested outside the German point of view in the 70s, yet it is a common theme amongst Wenders films as well as (arguably) Herzog & Fassbinder (New German cinema contemporaries) . One does not have to be a philosophy or poli-sci major to enjoy this film however. The fact that Wrong Move is freely based on Goethe's "Wilhelm Meister's Apprenticeship" is easily overlooked by the casual viewer - but if viewed as an allegorical narrative, like Goethe's work, parts of the film come together and make this obtuse, personal work by Wenders more interesting.The characters Wilhelm (Rudiger Volger) meets during his trip represent ideological sensibilities of 70s Germany. Mignon played by the teen Nastassja Kinski represents the youth and future of Germany (mute, trusting yet undemanding). Laertes represents the idealism of old Germany, and considers himself a martyr for the Nazi cause. Wilhelm and Therese (Hanna Schygulla) are between these 2 and take action to liberate one from the other. All is told in an un-naturalistic style that only works in some cases. The long (almost single take) walk up the hillside by the river are a good example of where the film shines. The photography by Robby Müller is consistently excellent here.It's a difficult film but rewarding to those who take time to understand it from it's original historical and ideological context. Worth seeing for the cinematography of Müller and the presence of Hanna Schygulla and Nastassja Kinski.