Actuakers One of my all time favorites.

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

SaidNDone Carol set out to bring the audience right into the relationship of the two main characters (Carol & Therese) and executed its concept perfectly. The movie does not worry too much about plot or manufacturing suspense, but rather allows the relationship between Carol and Therese to take center stage. This intense focus on character/relationship development while just letting the story progress naturally in the backseat results in a deeply intimate, almost beautiful experience for the audience, something I feel has been missing from the mainstream film industry for a while.

dingxueying This movie has some magic power and I got addictive to it for more than a year. I love the beautiful feeling between them, subtle but unforgettable! I thought I would cry before I watched it but it turned that I didn't. Then I release that moving things couldn't always make people cry, they may change into another form that makes people still can touch them over months and months. Some people may question that why these two women fell in love suddenly but that is how love runs like. You love someone before you notice that. Also! Love Cate and Rooney! Thank you for your perfect performances!

paul2001sw-1 Todd Haynes' 'Carol', like much of his output, paints a inch-perfect picture of life as it was the 1950s, at least for the middle and upper-middle classes, the sort of protrayal that emphasises the idea that the past is another country and they do things differently there. My gut reaction is to dislike this approach, to feel that a focus on aesthetic differences or behavioural norms hides the essential truth that underneath, we're the same as we always have been. But I can't help but praise 'Carol', a quietly mesmerising movie about two women who have a very socially-unacceptable affair. The acting is good, the score is excellent, but what's really brilliant is that the film works as a portrait of individuals, motivated by their own mixtures of desire and need. This is less a story about the right to be gay, per se, as one about the more general right just to be yourself; but it doesn't shy away from presenting the innate selfishness of asserting that right. I particularly liked the way Cate Blanchett's eponymous character, older and glamourous, initially appears to be calling all the shots, but in fact it's her mousy companion who turns out to have the firmer idea of what she really wants. A subtle and excellent movie.

chaos-rampant This is one to bask in its air for a while, one of several films about transition in life that I've seen in the last few days. It does not ask particularly difficult questions, about love or otherwise. Being able to inhabit transition is still one of the most illuminating uses of our time however. Going out the door, arriving at the last bend of the road before our destination; these are the stuff that make life the awe-inspiring journey it is, worth experiencing.The double perspective we are offered here is on one hand a quarrelsome world of need and anxiety, a bit cold, with boys pressuring the young woman for her affections, trying to pin her down to a life. Eventually it's revealed to be a much more cruel place, its machinery extending far afield. A private detective with them all this time and having set up his filming operation right next door to the lovers' room.But there's also the world of going out the door in jittery search; the world of tentative lovers getting to pull back the covers of self from each other. This is a world where taking images (the young one is a budding photographer) doesn't come with a narrative of what they can be used to prove or exact from someone (a trial about custody is looming), they are not 'taken' from, they are shared back in the open for what they signify; people having come close for the occasion.Seeing is central here, the story is after all in Anna Karenina's lineage (a preeminent story where seeing gives rise to the world of urge). We've just described two different kinds of it; one seeing that is strident and anxious with need, another where the gaze is open and jittery with anticipation. The gaze of the film itself is soft and languid. It felt like a more robust Wong Kar Wai. There is a marvelous tone poem the filmmaker squeezes in early, reminiscent of Kar Wai's going through tunnels. How exciting to consider that what would have been experimental film in the 1950s, now is part of the common fabric of perceiving. The whole production also deserves a mention; bringing the era alive must have been such painstaking work. They do it, creating a 1950s world that envelops while avoiding the stifling impulse to see 'period' in purely sumptuous terms of a rosy past. I left the film with a sense of Roonie's character as a young student discovering life just like someone would now. But there is also a third seeing that I would remiss in failing to mention. See, there is going out the door, and there is arriving on the last bend of the road, maybe the one before last. There is discovery and there is how to move forward from it. It's what we have in the final shot. Is she there to say goodbye the way they both deserve? There to announce she's there? As with the whole, it's not something we've not seen before but I like the things that we are called to inhabit here.