Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Rexanne It’s sentimental, ridiculously long and only occasionally funny

Graham Greene Director Michael Winterbottom doesn't make conventional British films. His work has the austere demeanour and unrestrictive sense of experimentation that we normally associate with the European aesthetic of filmmakers like Herzog, Kieslowski, Bergman, et al. This ideology is further illustrated by the film in question, with the director employing the esteemed cinematographer of Kieslowski's A Short Film About Killing (1987), Slavomir Idziak, to create the dark, noir-like underworld of disintegrating coastal beach huts and seedy promenades where these mysterious characters come to congregate. It's one of those films that puts atmosphere before everything else; a film in which the long pauses between dialog and the odd sideways glance of a character says more than an explanatory line of dialog ever could. If you have a problem with films of this nature - the kind that leaves questions and images lingering in the viewer's mind for weeks to follow - then this probably won't be the film for you.The plot is, on first glance, a simple one; relying on a series of emotional triggers whilst also playing with the usual cinematic chronology to go backwards and forwards into an event from the past. However, as we further explore the films sub-textual ideologies and the shadowy morals of the central quartet of characters, we discover hidden depths that have more to do with perception, memory and perspective. Winterbottom sets up an idea that each character sees a particular event in a certain way, so that we end up with multiple viewpoints all jostling for our attention. The resulting plot becomes much more of a puzzle, as we are further immersed within the shocking incident that bookends the narrative. Added to this, we are also given a narrator who cannot be trusted, which in turn leads us into a series of twists which expose the characters true intentions. The ultimate pay off comes right out of nowhere and knocks us off our feet, as the director subverts everything that we've previously seen and turns it into an almost epiphany. It's one of the most satisfying pay offs to a crime thriller that I've seen in some time.The photography of Idziak takes us into further labyrinthine realms that perfectly complement the seedy atmosphere and perpetual drive of lust and obsession, with the entire film relying on various colour filters that not only highlight the mood, but also act as a visual anchor to the characters and the emotional context of the moment. The music too is detailed and significant, with Winterbottom using a series of musical motifs to expressionistically represent the emotional underlining of the characters. In a film that relies on sound as such an integral component of the script this is expertly handled. The inclusion of Elvis Costello's eponymous anthem from which the film takes its title is totally relevant, and certainly adds a much-needed sense of abstract, fragmented reality to the self-contained world of the plot. The central performances only help to give the film an even greater sense of added depth, with the two youngsters Luka Petrusic and Lubina Mitevska complementing the more seasoned members of the cast perfectly. In the lead role of Helen, Rachel Weisz exudes a provocative, sexual energy, whilst Alesandro Nivola is a revelation as the broken-down Martin.I Want You (1998) is, for me, one of the most striking and evocative cinematic works of the last decade. An example of British cinema pushed beyond the realms of kitchen-sink and ably demonstrating a sense of visual imagination rare for this kind of genre. This is an exception film for those who enjoy their thrillers with a dark underlining and a distinctly multi-dimensional edge.

chrissage i read all the imdb comments on this movie and looked forward to watching it, enjoying a cerebral flick as much, if not more than the next man. but what a disappointment... the mute 'hero' anywhere else would be just a perverted voyeur. his sister is talented but a tramp. the hairdresser is a prick-tease and her ex-boyfriend is a loser. but who cares? there is nothing here to endear the viewer to anybody. the flesh on display was quite prolific, but gratuitous and not particularly attractive either. i found myself wondering what Rachel Weisz was doing in this film, but the over-riding question was why i had continued watching till the end.

Kaya Ozkaracalar The story, cinematography, music score, acting is excellent. Also, listen attentively for the last replic to be heard as the end credits begin to roll: it is NOT simply a re-playing of one of the familiar recordings the mute boy made, but includes a significant re-edit, which he has apparently made, which drives home the whole point of the movie very forcefully.

crasher Michael Winterbottom's latest film is definitely unlike everything his done in the past.Deeply influenced by the atmosphere that haunts the films of K.Kieslowski and D.Lynch,he has managed to create such a marvelous erotic and mysterious sensation that truly compensates for the absence of a significant plot.To be rewarded for that,of course,is the renowned photography director Slawomir Idjiak(3 colours,Gattaca) who created the excellent,and sometimes surrealistic,multi-color frames in which the actors told their story.A definite plus to this fascinating film experience is,of course,Elvis Costello's song "I want you" which is bound to never leave your your mind to rest unless you hear it over and over again!