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Powerful

Although it has its amusing moments, in eneral the plot does not convince.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

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

Italian filmmaker Giuseppe Tornatore has brought many terrific films to the silver screen including "Malena", and what I would regard as an all- time classic movie "Cinema Paradiso". Some may regard this latest effort as romantic but others will look at it as quite pretentious, and unfortunately I fall into that latter category.The fine actor Jeremy Irons portrays Astrophysics Professor Dr. Ed Phoerum who for six years has been in a passionate relationship with one of his former students Amy Ryan, played by Olga Kurylenko. Attending a seminar one day,she learns of his death and goes into sudden shock and grief. However, she begins to receive many cryptic messages, CD's, and other communications which seem to indicate that he's somehow aware of her activities each day.Amy begins to investigate how this is possible and will slowly learn the truth, so that by the end of the film it will all be revealed. Sorry, but it all seemed quite preposterous to me, and additionally I was never able to connect emotionally to the characters here.

Focused on the relationship between an astronomer and his lover, who spend their years apart. If you take out Olga Kurylenko's and Jeremy Irons great performances, the stunt works sequences and the 2 great scenes of Amy getting closer with a dog that she just met the whole rest of the film is divided between a very boring plot and pacing and thousands of scenes where we see her standing in front of a computer or a phone texting or just watching old videos with Irons in it. This film had a simple premise but it failed to deliver it cause we spend way too much time in cellphones and computer messages and although the 2 leading actors did a great job is not enough for them to save a boring mess. (4.5/10)

What do you need in order to create a movie in the inverted order from the usual story line: the one that starts with the line "From death do us part" and ends with the line "They lived happily ever after"? The answer is simple: You need a mastermind like Giuseppe Tornatore. A mind capable of inventing such interesting story, told through inspirational dialogues and intriguing plot. The final product entitled "The Correspondence" is equally impressive as an independent piece of art, as well as a juxtaposing part of Tornatore's previous movie "The Best Offer". The beauty of comparing his recent films (written in English) lies in the opportunity to grasp the big picture. Both movies revolve around couples and involve prototypical males (rational yet highly emotional, thus men in touch with their feminine side) and prototypical females (fragile yet strong, thus women in touch with their masculine side). Both have impressive cast for the role of the men (Jeremy Irons / Geoffrey Rush) and expressive cast for the role of the women (Olga Kurylenko /Sylvia Hoeks). "The Best Offer" deals with the mysterious appearance of the female character, while "The Correspondence" seals the deal with the mysterious disappearance of the male character. The first speaks about losing oneself when finding the significant other, while the second movie speaks about finding oneself while losing the significant other.Indeed, the theme of loss is ever-present in each frame and pixel of "The Correspondence". Someone might wonder if something so void and devoid of any words, something as ineffable as loss could ever be explained through words? It can and it ought to be, since the communication is the purest form of connection between a man and a woman, a marriage of their ideas, an ideal in itself, an open door to the deepest human connection. As long as we perceive the words spoken outside of our heads (in the books, songs or mouths of other people) as coded messages from the loved one, and as long we use all words existing inside of our heads as messages for our loved one, there will be connection. As such, the words are symbol of focus, of attention, and constant (re)invention of the significant other. Their presence signifies life, their absence – death (even in a symbolic manner) of the other.Within this movie, the characters use words to reach to one another, somewhere, anywhere. With this movie the director uses words, to hopefully reach toward each one of us, everywhere. With this review, I use words, maybe also to reach to someone, somewhere, out there… Biljana Gjoneska www.evermind.me

Years and years ago, Pier Paolo Pasolini would have solved this 116 minutes film with one sentence: "Death does not mean a lack of communication; it is the impossibility of being understood." And while this concept (twisted, distorted, disfigured) still remains interesting enough, Tornatore's prolix (plain redundant right there in the middle) writing swings between borderline creepy and full-on cheesy.Among the tear-jerking treacle, his pseudo-philosophical, re-adjusted to the contingency, take on astronomy -- dead stars and all -- is accurate and poetic enough, and really the only element (almost) giving the movie an appearance of tightness, thickness and consistency in its back and forth, back and forth rhythm.