USA Films | Release Date: February 2, 2001
7.4
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Generally favorable reviews based on 132 Ratings
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105
Mixed:
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Negative:
25
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10
JMHMay 7, 2012
Wong Kar-Wai's 2000 In the Mood for Love may be the best film, thus far, of the 21st Century. In just over 90 minutes, it conveys, through a voyeur-like cameras eye and spot-on, often silent, acting from Tony Leung and Maggie Cheung, anWong Kar-Wai's 2000 In the Mood for Love may be the best film, thus far, of the 21st Century. In just over 90 minutes, it conveys, through a voyeur-like cameras eye and spot-on, often silent, acting from Tony Leung and Maggie Cheung, an intensity of locked-up longing that's perhaps never been so captured on screen. The leads' spouses are having an affair, which brings them together unwittingly, though they too live in neighboring apartments. Initially joined by mutual heartbreak, they become joined by shared desire for one another that, in 1960s Hong Kong, is verboten. The leads are never joined through plain expression, but rather in often tense, mannered, scenes where they share a space (e.g., a cab) and communicate through just a glance or movement. And, in these scenes, the camera latches on to their subtle gestures with a yearning of its own that brings slight, soft acting full circle, giving it clear meaning. The leads encounter one another, repeatedly, in somewhat scripted, yet somehow not contrived, terms. An encounter might involve bumping in to a neighbor running a common daily (or nightly) errand. Indeed, an encounter of this sort becomes a centerpiece of the film, and the subject of perhaps the most entrancing visual sequences put to film in recent decades. In the Mood for Love is about quiet but telling action that, when enveloped by the camera, becomes loud. Wongs rich visuals tug the viewer into a muted world wrought with emotion. A feat many directors aspire toward. A feat Wong executes to perfection. Expand
1 of 1 users found this helpful10
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8
RobertBroganOct 2, 2015
In the Mood for Love is a very slow, moody, and stylized film. If in "Days of Being Wild" you can feel the humidity, in this one the feeling is like coming into an air conditioned room out of a hot day being in the city and the sense of quietIn the Mood for Love is a very slow, moody, and stylized film. If in "Days of Being Wild" you can feel the humidity, in this one the feeling is like coming into an air conditioned room out of a hot day being in the city and the sense of quiet ease and nice refreshment. That is what the relationship between the main characters feels like in the beginning, and through much of the film. The main tension comes from the fact that things will inevitably change and the question is whether these two people, who seem to deserve more out of life, can get it without becoming undeserving themselves. (And on a side note, Tony Leung and Maggie Cheung both look quite beautiful in this film.) Recommended to art lovers and people watchers. Expand
1 of 1 users found this helpful10
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10
ryancarroll88Aug 27, 2010
"In The Mood For Love" is easily one of the best art-house achievements of the decade, striking all of the qualities a good film should have while remaining unique to itself. Wong's use of color, repetition, and his unique delivery of"In The Mood For Love" is easily one of the best art-house achievements of the decade, striking all of the qualities a good film should have while remaining unique to itself. Wong's use of color, repetition, and his unique delivery of revelation and plot development complement perfectly to the two lead actors' performances, which were reason enough to watch this movie. Expand
1 of 2 users found this helpful11
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3
FikretJan 7, 2006
I guess my challange is to try to understand why there are so many people who fell in love with this movie. No plot, meaningless scenes (Cambodia scenes), slow, and a stupid ending. I can't resist but ask the questions: is it the I guess my challange is to try to understand why there are so many people who fell in love with this movie. No plot, meaningless scenes (Cambodia scenes), slow, and a stupid ending. I can't resist but ask the questions: is it the romantic music that made people love this movie? or do they just think that they're supposed to love this movie like we were told to find the "Mona Lisa smile" amazing? Expand
1 of 4 users found this helpful
0
nashville13Nov 1, 2011
it challenged my patience to watch this movie.i couldn't find any plot in this movie. i didn't push the slow motion button on my remote control,but why the movie was so slow?i just couldn't imagine if i pushed the slow motion button,whatit challenged my patience to watch this movie.i couldn't find any plot in this movie. i didn't push the slow motion button on my remote control,but why the movie was so slow?i just couldn't imagine if i pushed the slow motion button,what would happen to this movie?would it be more slower than usual? this movie's overhasty. Expand
1 of 7 users found this helpful16
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10
DavidH.Feb 10, 2007
Moving, erotic and beautiful. I haven't enjoyed a film so much in a long long time. The abstract ending just about gets away with it. The male lead is particularly compelling, the soundtrack is superb and and the photography is Moving, erotic and beautiful. I haven't enjoyed a film so much in a long long time. The abstract ending just about gets away with it. The male lead is particularly compelling, the soundtrack is superb and and the photography is beautifully grainy and organic (DEATH TO DIGITAL PHOTOGRAPHY). Expand
0 of 1 users found this helpful
9
AdamB.Sep 30, 2008
This movie looks really nice. If you like movies that look nice. You should try looking at the screen when this movie is playing. Some cool smoky shots with some nifty fifties dresses. It is basically Lost in Translation's Dad. Sofia This movie looks really nice. If you like movies that look nice. You should try looking at the screen when this movie is playing. Some cool smoky shots with some nifty fifties dresses. It is basically Lost in Translation's Dad. Sofia Coppola owes quite a bit of debt to the Wong Kar Wai. Expand
0 of 1 users found this helpful
10
RGMay 27, 2007
there is no director like wong kar wai who in every movie explores the stale and done state of love. but somehow he makes this theme more beautiful every movie and this movie is the pinecale of films about love. there is no sure way to there is no director like wong kar wai who in every movie explores the stale and done state of love. but somehow he makes this theme more beautiful every movie and this movie is the pinecale of films about love. there is no sure way to describe this movie to someone because of the seemingly thin plot and its experience. somehow one has to create their own definition to be engaged with it. the details that every shot contains begs multiple viewings and the cinematic response to the repeated settings and music is something of an awe experience. hands down one of the best movies of the new mellenium. Expand
0 of 1 users found this helpful
10
JohnDec 28, 2005
An absolutely spectacular movie, one of the very best films of the 2000s... (I wish I could say the same for 2046, which was so unexpectedly awful I still can't believe (apart from the visual style and casting) was the same director)... An absolutely spectacular movie, one of the very best films of the 2000s... (I wish I could say the same for 2046, which was so unexpectedly awful I still can't believe (apart from the visual style and casting) was the same director)... Still, In the Mood for Love is one of the most hauntingly romantic movies I have ever seen. It's a genuine masterpiece and can be appreciated by anyone... without ADD. Expand
0 of 1 users found this helpful
10
KeatonK.Oct 25, 2005
Wong's peerless masterpiece, this film is a harrowingly romantic and lyrical meditation on unrequited love, memory, and repression.
0 of 1 users found this helpful
9
SindriFeb 17, 2011
Enchanting cinematic art

Love has it's own erratic language in Wong Kar-Wai's masterful love-story which is set in Hong Kong 1962 and tells the story of news editor Chow Mo-Wan who has recently moved in to a crowded apartment complex with
Enchanting cinematic art

Love has it's own erratic language in Wong Kar-Wai's masterful love-story which is set in Hong Kong 1962 and tells the story of news editor Chow Mo-Wan who has recently moved in to a crowded apartment complex with his wife, and at approximately the same time the beautiful secretary Su Li-Zen moves in to that same place with her husband. Chow and Sus spouses are often away on foreign travels due to their jobs which eventually leads to Chow and Su becoming more and more lonely. After numerous coincidental meetings in the neighborhood a conversation occurs and the news editor and secretary realizes the kinship of their situations. One night Chow invites Su to dinner confiding her in his suspicion about their spouses having an affair. Su admits that she's had similar thoughts, but none of them has any solid evidence. Their intimate conversation gradually turns to regular dinner meetings where these two modest individuals find a unifying chemistry, and in time a subtle romance comes to life.

The two leading characters are portrayed as introverted, somewhat static and well educated people with high morals, and brought to life through Tony Leung and Maggie Cheung's low-keyed and emotionally demanding performances. Wong Kar-Wai wants us to emphasize with our hero and heroine even though we are aware of the fact that they are about to commit the same deception as their spouses have done. That one feels emphatic towards Chow and Su is hardy unavoidably considering what they are coming to terms with, but Wong Kar-Wai's real masterpiece is that he has us sitting through most of the film wishing for the main characters to become lovers. The esoteric dialog is convincingly communicated and Shigeru Umebayashi's theme song "Yumeji's Theme" is like a hymn to Chow and Su's tranquil and romantic friendship.

"In the Mood for Love" is a film that lives on it's on terms and invites the viewer into a dreamlike, poetic and hypnotically beautiful universe. It's without clichés, filled with hope and contains lyrical shades that makes the film seem like one great love poem or an exploration of human behavior affected by love.

This unforgettable slow-moving tale from one of the greatest visual storytellers in modern cinema stands alongside "The Piano" (1993) as one of the most profound love stories i've ever seen.
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0 of 1 users found this helpful01
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0
steamlordNov 7, 2015
in the mood for bore, nothing happens in this movie, the director uses slow motion in a scene buyind noodles, is pointless, is an exercise in empty style, emptiness is the theme here, i think people think this movie is art because they don'tin the mood for bore, nothing happens in this movie, the director uses slow motion in a scene buyind noodles, is pointless, is an exercise in empty style, emptiness is the theme here, i think people think this movie is art because they don't understand what true cinema is, is about emotions, technique, story, acting, music, this movie fails in all categories, half of the movie is spent showing the protagonist ass in different dresses, shots of a clock in a wall (why?) nothing means anything in this movie, is just stylish for the sake of being stylish but with no context, its repetitive, boring ant should appeal only for people that think they know art but clearly don't have a clue, like the director of this movie, it sucks hard Expand
0 of 3 users found this helpful03
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3
SamSkJun 30, 2013
The movie is very slow moving and I assumed the pace would increase but, sadly, I was wrong. Nothing much really happens. The music gets very irritating. I think anyone could have played the roles of the main characters. The only praise IThe movie is very slow moving and I assumed the pace would increase but, sadly, I was wrong. Nothing much really happens. The music gets very irritating. I think anyone could have played the roles of the main characters. The only praise I have is that it is quite artistic. I am somewhat perplexed as to why so many people adore this film. Expand
0 of 1 users found this helpful01
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9
SpangleSep 15, 2016
A truly melancholy yet poignant experience, In the Mood for Love is a truly devastating look at those on the other side of infidelity. Yet, at the same, purely and subtly romantic. As a result, director Kar-Wai Wong's moving film touches onA truly melancholy yet poignant experience, In the Mood for Love is a truly devastating look at those on the other side of infidelity. Yet, at the same, purely and subtly romantic. As a result, director Kar-Wai Wong's moving film touches on themes of adultery, marriage, and love, as these two people try to cope with the way in which their lives have been destroyed. Blessed with good cinematography, good acting, and a great score, In the Mood for Love is a wonderful work that really hits home.

After moving in next door to one another, Mr. Chow (Tony Leung) and Mrs. Chan (Maggie Cheung) discover that their spouses are having an affair with one another. What plays out is them imaging their spouses' spending time with one another, as well as them imagining confronting their adulterous partners. Unfortunately for them, their spouses heavy travel schedule leaves prevents any of these interactions from actually taking place, thus leaving them in eternal limbo as they await their returns. As expected, the two fall in love and spend more and more time with one another, but repress their emotions to keep up appearances. By the film they are willing to move on their love, time has passed and they simply can no longer because together as life has brought them extenuating circumstances.

A decidedly melancholy film steeped in themes of respect and loneliness, In the Mood for Love only subtly pays off on its hinting at the main characters' love. Though Mr. Chow and Mrs. Chan certainly hit it off and love spending time with another, the film goes out of its way to showcase the two of them maintaining their purity and not becoming their spouses. Instead, they hold themselves back and keep on just being friends. Wong does great at capturing this element as the romantic tension and longing between the two shines through in large part to the camera work and acting.

In the Mood for Love is incredibly slowly paced, which allows for the full emotional impact of their trauma and regrets to really linger with this audience. Even more, this slow, methodic pacing almost becomes wholly melodic and poetic as Wong weaves his way through this relationship, the crumbling of their marriages, and their later attempts to reconnect but to simply be kept apart. In particular, the discussion of the old method of hiding secrets and then seeing Mr. Chow do exactly as he described while in the ruins of Cambodia is a truly moving and poetic ending to the film. Yet, incredibly subtle and restrained, as is the case with Wong's characters. Plus, this scene does a great job capturing larger topics in the process. it was not just our two protagonists whose lives changed, but also all of Hong Kong. As hinted to at the end, Hong Kong has changed dramatically since they met four years prior to the end of the film. Not only have their former landlady's moved out, but times have changed and people are moving on. The fact that Wong chose to end the film in Cambodian ruins is also attached to this element, considering it is a very visual representation of the way in which time moves on and leaves destruction, ruins, and memories in its wake. The camera work in this final sequence is particularly moving as it moves through these Cambodian ruins as Mr. Chow visits them.

Ultimately, Kar-Wai Wong's In the Mood for Love is a truly tragic exercise in heartbreak, repression, and loneliness. Though these two may love one another, they simply cannot allow themselves to express this in the conservative Hong Kong. If they did, it would be the end of them socially. Thus, they remain silent. Wong does a tremendous job capturing their chemistry even in silent moments and developing his characters, as well as their relationship. Wholly authentic, In the Mood for Love is a film that may be very slow, but it is a truly melodic and poetic experience.
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0 of 0 users found this helpful00
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0
BroyaxDec 27, 2016
Je viens de regarder ce film et j'ai l'impression de sortir du coma. J'ai pas tout regardé à vitesse nominale mais j'ai tenu une demi-heure ainsi, ce que je considère comme un magnifique exploit. Je pensais alors que ça faisait au moins deuxJe viens de regarder ce film et j'ai l'impression de sortir du coma. J'ai pas tout regardé à vitesse nominale mais j'ai tenu une demi-heure ainsi, ce que je considère comme un magnifique exploit. Je pensais alors que ça faisait au moins deux heures et quelque que je regardais l'air ahuri ce cinéma d'auteur du festival de Cannes et que le générique de fin libérateur allait me délivrer.

Libera me domine ! mais non, le temps du cinéma d'auteur qu'il soit chinois, javanais, français ou indo-pakistanais s'écoule infiniment plus lentement et chaque minute contemplée de ce film abrutissant, des tas de neurones meurent en masse. Car la connerie tue.

Ne pas s'étonner alors si les peigne-culs des festivals suivis par la presse intello-bobo en mettent partout après, se gargarisant, pontifiant et idolâtrant à tout va les archi-méga-grosses merdes de ce genre.

Peu importe les comédiens dans ce cinéma de l'abrutissement, aucun ou aucune ne serait en mesure de sauver une telle affliction : pensez donc, dans le Hongkong des années 60, deux cocus qui habitent dans des cagibis se tournent autour et tentent de se renifler discrètement le fion sans jamais y parvenir.

Une heure trois quarts de ça. Tu le crois ça ? non mais putain ça troue le cul !
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0 of 0 users found this helpful00
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