"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.

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, 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

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).

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.

That "Crouching Tiger, Hidden Dragon" could be nominated for Oscars and "In The Mood For Love" could be totally ignored is a testament to the anti-poetic thinking that is the foundation of Hollywood.

This film can make you feel so romantic and sensible, it is perfect with music behind. Alot to think about.

Stylish and full of exquisite feeling, this film is ninety minutes of pure, distilled longing.

Not a one thing happens! They just sit there, and not a single damn thing happens! And god, but it's moving and haunting and poetic while it does. Or doesn't. (I'd also like to add that Crouching Tiger, Hidden Etc is as poetic and masterful a film as you're likely to see, and was as utterly deserving of the Oscars as Mood For Love would have been. Maybe nominating two Chinese films would have been seen as bias. Which shouldn't have stopped them anyway...)… Expand

A languorous dance of a movie, with a beautiful style. Some gaps at the end (not really a denouement), perhaps due to sloppy editing in the US release, kept me from giving it a 10. A note: the trailer I saw two years ago was misleading: it implies that the central characters only pass each other on the stairway and have no real involvement. In the film they do develop an actual relationship.

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

Beautiful, poetic - it just sucks your heart into its poigance.

Absolutely beautiful--Wong Kar Wai does it again. This is a visual masquerade, where the background sets the mood as much as the situation. Gorgeous cinematography; beautiful colors. And the acting is superb. This is one of the movies where silence is just as important as dialogue, but rather than bore you, it creates a mood of its own. Why this wasn't nominated for Best Foreign Film is beyond me; its subtlety and stillness leave you awestruck.… Expand

Beautiful, romantic, moody. Sensous, moving visually and emotionally. What a treat to the eyes and the hearts. A testament to what a craftman can do with the medium.

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

Wong's peerless masterpiece, this film is a harrowingly romantic and lyrical meditation on unrequited love, memory, and repression.

This film is an example of how truly moving a romance can be, blows any recent Hollywood romance completely out of the water.