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Year One
Stars indicate the most critically-acclaimed movies.
Heaven

Generally favorable reviews
Based on 31 critic reviews
How did we calculate this?
Based on 7 votes
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Movie Info
Genre(s): Romance
Written by:
Krzysztof Kieslowski
Krzysztof Piesiewicz
Directed by: Tom Tykwer
Release Date:
Theatrical: October 4, 2002
DVD: June 17, 2003
Running Time: 96 minutes, Color
Origin: USA / UK / France / Italy / Germany
Summary
RATING: R for a scene of sexuality
Starring Cate Blanchett, Giovanni Ribisi, Remo Girone, Stefania Rocca, Alessandro Sperduti, Mattia Sbragia, Stefano Santospago, and Alberto Di Stasio
A luminous and haunting love story, layered, in the tradition of Kieslowski, over a probing exploration of the modern world and its moral choices. (Miramax)
Also On Metacritic
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Also On The Web: Internet Movie Database View The Trailer Official Studio Site
What The Critics Said
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
The New York Times Stephen Holden
Here the clinical, stopwatch precision of Mr. Tykwer's explorations of synchronicity and Kieslowski's warmer, metaphysically dreamy speculations about the role of chance and coincidence in human affairs synchronize into a film whose formal elegance is matched by its depth of feeling.
Read Full Review >Chicago Reader Jonathan Rosenbaum
It's Tykwer's most assured picture to date, and like much of Kieslowski's best work it qualifies simultaneously as engrossing narrative and philosophical parable.
Read Full Review >Washington Post Desson Thomson
Unusual, unexpected and strangely refreshing. For this movie to have resorted to a familiar action-flick finish with everything explained, pressed and dry-cleaned would have rendered it banal.
Read Full Review >Wall Street Journal Joe Morgenstern
Mr. Tykwer's hands the movie changes almost magically from drama to chase to romance. As it does so its moral weight lessens; by the end there is less than what first engaged the mind. What meets the eye, though, is unforgettable.
Chicago Tribune Michael Wilmington
The result is both engrossing and moving, a poem about a love that breaks barriers and passes understanding.
Read Full Review >Philadelphia Inquirer Steven Rea
Odd, and awkward in places, but its lyricism and power stay with you.
Read Full Review >Portland Oregonian Kim Morgan
Not just love, but maybe an escape from a wretched world. We're not sure, but that's what makes Heaven so inexplicably, intriguingly soulful, even in its most remote and architectural instances.
Read Full Review >Salon.com Stephanie Zacharek
Tykwer's actors seem completely clued in to his intentions. Both Blanchett and Ribisi give performances so restrained they're almost subliminal.
Read Full Review >The Globe and Mail (Toronto) Liam Lacey
The result is a beautifully designed, lyrical fable of a movie, full of God's-eye shots from on high, placing the characters against the Italian scenery and medieval architecture.
Read Full Review >Christian Science Monitor David Sterritt
Tykwer doesn't aim for the heights of excitement and invention he reached in "Run Lola Run," but he blends an impressively varied palette of moods into an intriguingly unpredictable story that's never short of ideas.
Read Full Review >Chicago Sun-Times Roger Ebert
Poetic in its sadness, and Blanchett's performance confirms her power once again.
Read Full Review >Boston Globe Ty Burr
It's maddeningly chowderheaded, simplistic, pretentious, and not a little silly. You can't take your eyes off it.
Read Full Review >San Francisco Chronicle Edward Guthmann
A mystical tale of two souls, joined in love but divided in society, seeking redemption and understanding before they pass to another plane.
Read Full Review >Miami Herald Rene Rodriguez
If Heaven doesn't quite achieve the transcendent power that Kieslowski might have attained, it comes close. One shot in particular, with the couple making love under a tree in silhouette, is a thing of quiet, sublime beauty that is eloquent in a way words never could be.
Read Full Review >New York Daily News Jami Bernard
Too bad Heaven creeps into town when it deserved more fanfare. Consider it buried treasure, a thriller for the art- house crowd.
Read Full Review >Village Voice J. Hoberman
An art film without the NYFF imprimatur, Heaven is a peculiar amalgam -- a Miramax package (without the hype), directed by German hotshot Tom Tykwer under the eye of Anthony Minghella, from a script with which the late Krzysztof Kieslowski had planned to inaugurate a new trilogy named for the Divine Comedy.
Read Full Review >LA Weekly Grahm Robinson
The final product is so eccentric and resolutely uncommercial -- and so faithful to the spirit of Kieslowski's oeuvre -- that it's hard to doubt the purity of Tykwer's intentions.
Read Full Review >Baltimore Sun Chris Kaltenbach
Heaven is so determined to be poetic and beautiful, it comes across as forced and didactic, a lesson in relative morality whose storyline doesn't so much flow as lurch from one stretch to another.
Read Full Review >ReelViews James Berardinelli
Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.
Read Full Review >The Onion (A.V. Club) Scott Tobias
With Heaven, Tykwer completes his self-appointment as Kieslowski's heir apparent, but since he has always been a better filmmaker than a thinker, his ideas drift into the ether.
Read Full Review >Variety Derek Elley
Sports a lustrous performance by Cate Blanchett that gives the movie much of its final sheen but still can't keep it on the rails as the already flimsy story starts to disintegrate in the final act.
Read Full Review >New York Magazine Peter Rainer
A great deal of energy is expended on metaphysical ruminations that become ever fuzzier. The film is intended as an allegory, but it works best as a jailbreak romance. In this movie, lowbrow trumps highbrow every time.
Read Full Review >Dallas Observer Luke Y. Thompson
Isn't a bad movie by conventional standards, just a boring one.
Read Full Review >USA Today Mike Clark
Heaven is saved only by the power of an occasional hypnotic image.
Read Full Review >New York Post Jonathan Foreman
Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.
Read Full Review >TV Guide Maitland McDonagh
The conclusion, clearly meant to feel ambiguously poetic, is distinctly unsatisfying.
Read Full Review >Entertainment Weekly Owen Gleiberman
Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning ''Run Lola Run,'' has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap. It's enough to make you want to see him run again.
Read Full Review >Washington Post Ann Hornaday
It's a mannered, precious exercise that seems to have less to do with lived moral dilemmas than with the smug piety of its makers.
Read Full Review >Los Angeles Times Manohla Dargis
Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
Read Full Review >What Our Users Said
The average user rating for this movie is 7.4 (out of 10) based on 7 User Votes
Note: User votes are NOT included in the Metascore calculation.
Stephen K gave it a10:
Beautiful film with a visually amazing and poetic surprise ending.
John M. gave it a10:
This is a great film about love. Beautifully shot. Wonderfully directed.
Pat C. gave it a6:
This morality play is not too long, but could have been shorter, since character development apparently wasn't a concern. Blanchett sells her character so well that it is easy to overlook that the character is dysfunctional and spectacularly dense. But aren't we all? This seems to be the premise of the movie. Her wish for the end to come is the most poignant moment in the movie, but after that it was my wish too. When one's life warps into the abyss, given the chance one will eventually want to come out the other side. In this case the other side remains unfathomable.
Chad S. gave it a 5:
The ease in which Ribisi communicates with Blanchette is very distracting. What kind of prison is this? Don't the Italians search their prisoners? This wouldn't matter had Blanchette and Ribisi convinced us of their love for each other. There's a long pause before Phillipa answers Flippo(Ribisi)'s father about her love for his son. Blanchette seems to be commenting on her counterpart's performance, before honoring the script's edict that the schoolteacher is supposed to fall in love with the carabineri. It looks more like codependence, but then she has sex with him. This is the third movie (the others being "The Shipping News" and "Charlotte Grey") I've seen in which Blanchette acts her brains out for a production that lets her down.
Kobus B. gave it a 10:
This is the poetry of moviemaking... The camera is making love to lush landscapes and the acting is brilliant. A masterpiece!
Alessandro P. gave it a 2:
Beside minimal aspects which undermine the plausibility of characters (like the the strong accent with which Mr. Ribisi speaks Italian: despite his name, he is evidently no native speaker), the film is not only an insult to logic and plausibility (which still could be accepted), but fails also in the esthetic transfiguration acclaimed by some critics. The "poetic" images of Mr. Tykwer are average for good European cinema and do not struck for their beauty or richness in symbolic like the ones of Mr. Kieslowski (who had probably made a completely different kind of movie). On the contrary: when the fugitives escape to Tuscany (of course...) the pictures of the landscape and of Montepulciano are so trivial and post card-like as only a kitsch German director could imagine. Maybe as a Tuscan myself I'm too sick to see always this kind of images: it were as say a western movie couldn't avoid showing Monumental Valley to be taken seriously. But the worst thing of all is the absolute incapacity to show some psychological change in the characters. In this sense it is a black-and-white picture of a world in which the bad guys are bad and deserve death, while the good guys are just good, no matter what they do. People in this movie act always exactly the way you would expect them to act. The psychological flatness and the missing of every development in the emotional world of the characters makes it really hard to remain in your chair till the end, which is ambiguos and open as many similar conclusions, but as a filmical scene constructed in such a ridiculous way that many people in my movie theater laughed.
