Wordiezett So much average

Cortechba Overrated

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

adonis98-743-186503 Two neighbors, a woman and a man, form a strong bond after both suspect extramarital activities of their spouses. However, they agree to keep their bond platonic so as not to commit similar wrongs. In the mood for love is another romantic films that fails on being actually romantic, it was actually pretty boring except charming as i hoped it was going to be at least. The chemistry between the 2 leads was very bad and choppy and the overall storyline quite the snooze fest and just another bad film on the Top 250 movies of all time sad but true. (0/10)

851222 Greetings from Lithuania.Probably i'm going to be the only one here who didn't get this movie. I thought that it was boring and not involving. While acting was good, that is the only good thing i can say about "In the Mood for Love" (2000). While it isn't a bad film either, i expected it to be much more better character study movie, but it just didn't connected to me for a whole extremely slow paced 1 h and 34 min - i was bored out of my mind (and i know that "boring" is not the best word to describe a movie).Overall, for me personally "In the Mood for Love" is a big disappointment. While i wasn't expecting from it anything in a first place, it didn't involve me for a minute, and that is not a good thing when watching a movie to say the least.

Asif Khan (asifahsankhan) Or if you need to just set up your mood for "LOVE" - watch this! Seriously!The opaque and ashen ache of stolen moments, and the often painful passage of time hangs heavy upon Hong Kong filmmaker Wong Kar-Wai, particularly in his masterpiece from 2000, In the Mood for Love. As anthem to the agony and ecstasy of close-lipped affection, this film, more than any other in Wong's considerable oeuvre, is a Proust-like conjuration of memory and misgiving.The second instalment of a rather loose trilogy that began with Days of Being Wild (1990) and concluded with 2046 (2004), The Mood unravels in Hong Kong, 1962, cantering on two neighbours living in a close quarters tenement house.Maggie Cheung and Tony Leung shimmer as Su Li-Zhen and Chow Mo-wan, the neighbours in question, who rightly suspect their respective spouses are having an affair. Leung and Cheung, it must be said again and again, are wondrous in these roles, and are every bit as iconic as Bogie and Bacall before them. The fugitive motions and fleeting looks of chiming clocks, the whirling of smoke rising from a cigarette, and the sentimental croon of Nat King Cole super-abound Wong's elegant period drama. Mr. Chow is something of a journalist, Mrs. Chan is a secretary for a shipping company, and soon the two of them will find themselves in the ephemeral fog of anguish, contrition, and the sweetest nostalgia. As next-door neighbours in close approximation they soon discover that their spouses are always absent at the same time. Their lives intersect more and more and soon a strange and strained relationship forms between them both. As a sensual memory piece In the Mood for Love is luminous, and the slowly simmering romance therein is an inextricable blending of physicality and formalism.Initially, it was supposed to be made fast, dirty, and on the cheap, in a fashion not unlike Chungking Express (1994). Maybe it was inevitable that this project, a long gestating follow-up to Days of Being Wild, concerned with pain and longing, should inflict similar damage on its designer, for Wong's anguish is palpable in every loving, wistful, and spectacularly detailed frame. The bright colours and unconventional compositions that Wong's name became synonymous with in the 1990s is here faultlessly fulfilled, even when hemmed in. The film renders on an intimate scale the intersection of misery and euphoria, of romance in retrospect, and makes it into cinema's saddest song of love lost to history.Just so you know: The film's original Chinese title, meaning "the age of blossoms" or "the flowery years" – Chinese metaphor for the fleeting time of youth, beauty and love – derives from a song of the same name by Zhou Xuan from a 1946 film. The English title derives from the song, "I'm in the Mood for Love." Give it a watch, you will regret nothing.

Ngoc Thuy Bui This movie tells a simple tale: a woman and a man whose spouses have an affair come to each other for consolation. They slowly develop feelings, but decide to part in the end all for the greater good. However, what makes this movie such a masterpiece does not lie in the story, but rather in its effortless capability to convey emotions and mood. We are put in the main characters' perspectives throughout the movie.The characters' desire, pain, empathy and connection can be felt through still images and camera movements. Every frame tells its own story. The long, silent shots create a sense of longing and loneliness. Subtle body movements - sideways glances, slowly intertwined hands, the way they weigh their questions and drop their eyes or repetitive actions and conversations are never boring, because they make the audiences yearn for more.This movie is utterly delicate, beautifully layered, masterfully crafted to be brimful with feelings. It is slow-burnt with little actions and offers no resolution; but remain one of my most favorite romantic movies of all time for its lush cinematography and the way it tells a tale of noble unrequited love that could have been, but never was.