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A lot more amusing than I thought it would be.

Clever, believable, and super fun to watch. It totally has replay value.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Blistering performances.

This is the story of a piano tuner (Takeshi Kaneshiro-Chan Kar-fu) who meets Yan Muk-yan (Aaron Kwok) at a job. By sheer "luck", they meet again and Yan moves in with Chan. A beautiful young lady (Kelly Chen-Mok Man-yee) moves into the same building and both Chan and Yan fall in love with her. If this film was a comedy only about this, their misadventures trying to win Mok's heart, it would be fine because they are all appealing characters. However, this film goes far beyond that. The film is a meditation on love, being together and just a little lust. There are moments of great comic relief, as well as some tender scenes. The title of the film refers to Bach, Anna Magdalena being his wife. That means that the music in the film is wonderful, as the film pretty much is. The film has a tremendous heart, a pleasant departure from romantic comedies that struggle to make ninety minutes and add irrelevant scenes and characters. Everyone in the film is great, its a high water mark for romantic comedy. I highly recommend this film if you like romantic comedy, its definitely worthy of your time.

I went into this film with no expectations, and came away very pleasantly surprised. It is one of my most favorite romantic films.The main storyline, a romantic triangle, was nice enough. Each of the three main characters (Chan Kar-fu, Mok Man-yee, Yau Muk-yan) have such different approaches to life and romance that it was pleasant (and sad) to watch the ways they connect and fail to connect. I felt this storyline was satisfying by itself, but I think it was given some richness by a series of very peripheral characters that comment on the theme of the film with their own inabilities to romantically connect with the people they are attracted to. For me, however, the thing that made this film stand out most strongly was the eccentric story-within-a-story (written by Chan Kar-fu, read by the assistant editor) which both lightened the serious tone of the film, and deepened the theme of love and the difficulty of admitting that love.

This film is unbelievable. I mean, it's unbelievable that this film even left the drawing board. It's unbelievable that three talented actors could even choose to do a film of this quality. Correction. It's not the quality, it's the lack thereof I should be noting.Anna Magdalena is a 'romantic tale' (it says on the back), in which a piano tuner (Takeshi Kaneshiro) bumps into a serial womaniser (Aaron Kwok) who is a no-hoper in his aspirations to become a novelist. The 'piano tuner' decides to offer the 'novelist' a hand by putting him up for a few days. Meanwhile a new resident (Kelly Chen) moves into their apartment block, with piano and all, only that she shows little talent. A 'love triangle' forms.Well, maybe even the clichéd love triangle cannot be an attribute here, as I've seen more chemistry in a bottle of air. The three characters seem as loveless as a defaced stone wall, and the film rarely ever delves further than skin deep. The storyline is virtually nonexistent, and where there is one, there is too much irrelevance to keep the flow running. In particular, the film tries the old tactic of showing the unique quirks of the characters, but in no way do they fit in with the story, nor add anything to what we want to discover.There is nothing in this film that salvages it from me wanting to call it rubbish. It is simply pitiful. I am a big fan of Kaneshiro and Chen, and I did like to a certain extent their outing in Lavender, but Anna Magdalena would be a film I wouldn't want to remember them for. One to leave on the shop shelf.

This movie stars 3 Chinese pop stars, so on the surface, it's like a Chinese equivalent of such American teeny-bopper fare as Dawson's Creek. But of course, it's much better.The story has a more thoughtful and philosophical bent to it, and doesn't have silly and manipulative romantic entanglements like its American counterparts. That is, no one whines about their broken heart very much - but you still feel the pain.Takeshi Kaneshiro is the best of the 3 leads as a lovelorn but reserved loner, and he conveys a lot of emotion while being very subtle. The other 2 actors, Kelly Chan and Aaron Kwok, are fine, too.The all-important novel that Takeshi's character writes fulfills its promise of being an artlessly simple but incredibly sweet love story.I'm increasingly impressed by foreign movies and their ability to convey the complexity of love, while by contrast, most American movies seem to make it much simpler and less realistic. This movie is one such foreign movie.Leslie Cheung & Anita Yuen have small but effective roles as 2 people touched by the novel that Chan Kar-fu (Takeshi) writes.