TrueHello 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.

Fairaher The film makes a home in your brain and the only cure is to see it again.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

sojiquex Hawaii, Oslo is a story about the fear of being alone and the struggle to find someone to love. Set in present day Oslo, Erik Poppe's second film tells three different stories that intertwine. First is the story of Leon, an institutionalized kleptomaniac who is celebrating his 25th birthday. He is waiting for Åsa, a longtime friend and soon to be fiancé if they carry out their pact to marry each other if they are both single at 25. The plan becomes more complicated when his imprisoned brother, Trygve, comes with plans to escape the guard watching him and move to Hawaii with Leon. Leon is unwillingly taken on a journey through the streets of Oslo which seem to be taking him farther and farther from Åsa.Next, we meet Mikkel and Magne, brothers who are living on their own after the recent death of their father. Mikkel fears separation from his brother if they enter into state care and acts hostile towards two social workers who take them to see their father's funeral. He is also hostile towards his mother, who has not seen her boys in over ten years. She is introduced in the film with a failed suicide attempt, but finds meaning in life when notified of her children's' father's death by Magne. Her battle to become the boys' mother will not be easy as Mikkel and Magne run away to avoid separation in foster homes.Frode and Mille are the last couple we meet in the film and are the happy parents of a newly-born boy. Their joy over parenthood is destroyed, however, as they learn that their child has a rare heart condition and most likely will not survive for more than a week. Only one hospital in the world has ever fixed this kind of defect, and the operation will cost 900,000 kroner (about $155,000), far more than the couple's assets. Frode will stop at nothing to raise the necessary funds for the operation while Mille gives up on hope for a cure. Their relationship understandably becomes strained over the fate of their child.While these three story lines intertwine, they are connected by Vidar, a supervisor at the institution where Leon lives. He has the ability to see the future and past in his dreams and seems to have a platonic love for anyone he encounters. As he bumps into the troubled characters of the film, he uses his visions to prepare them for the future and comfort them about the past.The film centers on the characters' struggle to find love in their life and the fear of losing the love or fallacy of love they already have. The characters are beautifully portrayed in this aspect, and their fears and hopes seem real. Nothing is overplayed or romanticized and the stories create a fear for the worst in the viewer. Leon is driven by the memory of Åsa and is determined to reach her if she shows up. He is also haunted by the fear that she has forgotten him and that he will never see her again. Meanwhile, Frode fears losing his child and will do anything to assure a long and healthy life for the boy. He sells all his assets, including a guitar once owned by Nirvana's Kurt Cobain, but still comes up short in his quest for 900,000 kroner. With the almost certain death of his child approaching, he must act quickly if he wants to save both the boy and his relationship with his wife. At first glance, Mikkel may appear to dislike his brother, often berating and abusing him. However, this is a sign of love as Mikkel fears losing Magne and only wants to control him to keep him close. He fears his mother does not actually love them as she attempts to become their guardian once again. We see this is not true though, for she seems to need them to carry on with her life. There are some other minor story lines about love including an ambulance worker who falls for the boys' mother after saving her and the love Trygve feels for Leon.The movie also has religious and spiritual themes. Vidar uses his visions to guide and comfort the other characters and is seen as a guardian angel or even as a Jesus-like image. Early in the film, he quotes Jesus in order to stop a patient from harming Leon, saying, "Whatever you do to Leon, you also do to me." He also seems to shed feathers in several scenes and Leon even calls him his guardian angel while holding one of these feathers. There is a great scene later in the movie when we learn that another recurring character is "not who she says she is," but presumably an angel as well. These two divine figures interfere with what appears to be the fate of the characters to be alone and are a driving force for change in the lives of those around them. I did not find this theme particularly compelling but thought it was well done. Poppe presents the divine figures in a very subtle way, not making the movie about them but using them to progress the story. I also think that religious audiences will be more interested in this aspect of the film than I was.Despite these triumphs, the film does have its drawbacks. The plot takes a long time to set up and the slow nature of the beginning can take viewers out of the story. The film is not particularly unique and has nothing new to say. The ending was especially predictable and turned me off a bit. However, Hawaii, Oslo was fun to watch and really involves the viewer. The experiences in the film are ones that everyone can connect to and sympathize with, and the story, driven by many great performances, is engrossing once it takes off.7/10

zep719 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.

mstoretvedt First of all, being a Norwegian myself (studying in Denmark), I have never really been fond of Norwegian movies, until a friend of mine back home send me Hawaii, Oslo as a present.I got a lot of mixed reaction from my friends back home that have seen this movie, (some didn't like it at all, some thought it was OK, some though it was excellent), so I didn't know whether to watch it or not, so my best friend brought it for me be to hear that i had to say about itSo, I can honesty say now, I don't understand why people wouldn't like this movie!!This is a beautiful and very touching film. I don't know some of my friends didn't like it (maybe they're not into touching/sad films), but I saw it and I was happy, touched and merely sad in different points throughout the movie. This movie really makes you think with an open mind and I really felt for characters in the movie.SO, a basic PLOT that doesn't give away a lot =P: It's based in Oslo and we follow the lives of various people, which was beautifully linked to bring these complete strangers together. All brought together by Vidar, who is considered as a "guardian angel".There are a lot of critics and people that can lash out saying, they didn't like it and many saying that they did, but honestly, I just think everyone should see the film and decide for themselves whether they liked it or not.

Tore Dahl Warning: Spoilers ahead.This movie was - unbelievably - one of the most popular Norwegian films in 2004. It's hard to see why. Full of over-acting and feeling', it's hard to keep your dinner down at times. Sometimes there's a message in there, along the lines that if you just work hard enough, believe hard enough, everything will be all right. But maybe not always... Sprinkled with a solid spoonful of awful magic realism, it's not easy to see what side the author is on (hard science or Coelho-style stupidity), especially in the story of the couple with an infant suffering from some fatal heart disease. But at least the director gives it slowly away, by portraying the doctor looking awful and unshaven, and even bare chested underneath his white coat. The level-headed mother who at first is trying to get to grip with the reality, finally comes around and agrees to try the far-fetched attempt of going to the US to try to save the baby. The other stories are pretty idiotic and unbelievable, and only feeble people will find this a good movie. Not that there's anything wrong with trying to tell people that there's always hope, but it does matter how you try to do it. This movie fails spectacularly. Stay away at all cost.Rating: 3/10 (because the competition at the bottom is pretty steep)