It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

In other words,this film is a surreal ride.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

This is ultimately a movie about the very bad things that can happen when we don't address our unease, when we just try to brush it off, whether that's to fit in or to preserve our self-image.

Not your slam bang big budget action film by any means. If you're looking for a recent exemplar of the well crafted, low budget, independent film, this is it. It's the kind of film you might want to see by yourself so that there's no chance for comment or interruption. The characters gradually emerge, the plot thickens, and you're with it all the way. What a talented group of actors this is and the direction and cinematography are absolutely fascinating. My only complaints are that the music is sometime intrusive, disruptive and the tennis match is a little trite -- small criticisms for what is otherwise a really nice movie.

Contains spoiler In an effort to support up and coming Asian American filmmakers, I went to see "Charlotte Sometimes" at the Screening Room in Tribeca tonight. Supporting artists of your own race because they are of your race has been called a "pitfall of identity politics", and tonight I wallked straight into the pit. Now, I am not at all ashamed of supporting Asian American artists, directors, musicians, especially when they are very talented. I truly want to see talented Asian Americans emerge out of the woodwork. But Mr. Byler's film was lacking on so many levels, I could barely suppress the impulse to run out of the theater before the film was over."Charlotte Sometimes", in my very honest opinion, is not a good film. If anything, watch this film to make a general list of what NOT to do when making a movie. Here is my list:1. Never forget your audience. Events in the film must be purposeful to the audience or they lose interest in your story.2. Don't create pointless dramatic tension. There must be a reason why your characters are tense, otherwise, don't make them tense just for the sake of tension. Real life is stressful enough without the movies making us pointlessly nuts...3. If you don't have fine insight into human nature, don't make a film about human relationships. There is a reason why Albert Einstein studied physics and Sigmund Freud studied people.4. Character communication is necessary! Communication can be verbal or non-verbal. But no matter what, characters must be clearly communicating with each other. Otherwise, nothing happens. Even in silence, which this film has a lot of, there needs to be clearly implied meanings. Ang Lee is the master of wordless communication.5. Make characters interesting and matter to the audience. Do people feel emotionally bonded with the characters? Do we care about them?6. When dropping hints/clues, make sure the answers comes out later! When a character discovers a secret, etc. make sure the audience eventually understands the big secret.My personal issue with this film is that the HAPA boyfriend (Half Asian Pacific American) ends up having sex with both women, while the Asian American man does not sleep with either of them. That seems emasculating from an Asian man's point of view (still losing Asian women to white, or in this case a half-white, man). The Asian women are not much better off--one is overly coy and seductive (reinforcing the sexualized/fetishized Asian woman stereotype), while the other seems to be a nymphomaniac (still reinforcing the sexualized/fetishized Asian stereotype). I would not classify Eric Byler's film as one directed by an Asian American. "Charlotte Sometimes" does very little to challenge the racist stereotypes that Asian American men and women have been forced to contend with in the American media since the dawn of Hollywood. For better insight into Asian America, try "Better Luck Tomorrow", directed by (dare I say it?) a 'full' Asian. "Better Luck Tomorrow" (affectionately dubbed "BLT") has generated a lot of buzz with Asian Americans, some good and some bad. But the controvery it has generated among Asian Americans is testimony to how deeply this film speaks to us.

very moving, if you have ever dated an asian girl you will be able to relate to this movie. The rating on the movie is bogus it's just one person giving it a low rating over and over again. Different people will have different takes on the movie, my friend and I couldn't really agree on the plot so your past experiences will color how you see this film.

'Charlotte Sometimes' is another highly accomplished Asian American movie released in 2003. Unlike the enjoyable, more mainstream high school black comedy 'Better Luck Tomorrow,' which MTV publicized and distributed, this one is quiet and subtle and focuses on relationships and choosing a mate. Michael (Michael Idemoto) has inherited his garage from his Japanese American parents. He lives in the top half of the family house and rents the bottom half to an Asian girl and her half Asian boyfriend. The couple has noisy sex every evening and loner Michael, who otherwise spends most of his time reading, goes to the local bar to avoid hearing. When he returns, the girl (Lori, Eugenia Yuan) comes up to watch a video and have a chat and a cuddle -- amenities the boyfriend doesn't seem to provide. Lori seems to have a purely sexual relationship with the hunky Justin (Matt Westmore, who's half Asian, like Eric Byler, the director of this movie).Lori wants them to double date with a friend of hers, but Michael refuses, saying "I'm not afraid of being alone." He does his reading. He works in the garage. That is his life. He seems cool with himself, content with this. On Sundays he hangs out with a relative, following a traditional obligation that he neglects during the affair that's about to begin.Next time he's at the bar he sees an attractive Asian woman (Jacqueline Kim). He leaves, then comes back. She talks to him. The non-committal Michael denies he came back for her, but when she leaves he runs out, admits he is interested, and invites her to his house, where they have some drinks, and then some more. He tells his story, but she reveals more, remaining mysterious. She says she's just visiting. She tells him her name is Darcy. When Lori comes up for her post-coital cuddle, Michael turns her away saying he's with someone. Darcy says that she's only there for a few days, she wants a quick sexual affair. Michael can't accept that -- he's probably too interested and too needy to get his mind around the idea of something temporary -- and he puts on the brakes. She spends the night, but they sleep separately.Darcy has a secret, which Lori knows and which soon is revealed when Justin comes up in the morning to have help opening the shared garage and Darcy suggests that all four have lunch. Lori doesn't reveal anything to the group, but in the ladies' room we find out that the two women are old friends, and Darcy, whose real name is Charlotte, was the other women Lori wanted to double date with. She has lied in refusing any interest in Michael, and has lied to Michael about who she is and presumably about where she lives. In being mysterious, she's playing the femme fatale, and Lori knows she's dangerous and not to be trusted. She warns Darcy/Charlotte to steer clear of Justin because "he may be the one I will want to marry."Eventually Michael finds out the secret and that changes everything. Lori challenges Justin by impulsively demanding after sex that he take her up to Monterey for the weekend. When he refuses she accuses him of being a "user." Stung, he storms out of the bedroom to leave, but later comes back and takes her on the trip. While they're away Michael goes into their place and finds old photographs that reveal Lori and Charlotte's friendship going back to their childhood. When Darcy/Charlotte next appears, Michael turns her away ruefully, deeply hurt to have been deceived. Charlotte runs into Justin in a coffee shop and disobeys Lori's request by letting him come on to her. They go to a motel to have sex. Lori realizes Justin has left and throws out his things and goes up to Michael again. This time it's no longer just cuddling and they kiss as the film ends. Clearly it's turning out that the feelings they had for each other were more than friendship all along, and their previous matches were the wrong people.'Charlotte Something' is as much about choosing the right mate as a Jane Austen novel, but it's all done with suggestion instead of elaborate speeches and analyses and a there are just a few repeated patterns of scenes instead of many chapters of narrative. The roles are also reversed. Justin, who's part Caucasian, is the sex object rather than Lori, and Darcy is a girl. Michael's laconic nature doesn't mean he isn't desirable or strong. Because all the characters hold back, but know what they want, and because the director and writer know what they're doing, every word and every shot count. The movie shows rather than tells, and never shows much, but it's amazingly rich and fresh considering the simple raw materials of four people and a house in Glendale. Michael's moment of final disappointment with Darcy is powerful and Charlotte's scene with Justin is shocking. The reunion of Justin and Lori is a denouement. The resonance of the loaded scenes continues long after one has left the theater. Everyone in the film is Asian, so that isn't an issue--except perhaps for Justin, who's only half. His non-Asian side seems to be what brings out the stereotypical pattern of seeing his Asian girlfriend as a sex object, but with the paradox that this is what he turns out to be. An emotionally loaded and thought provoking piece, 'Charlotte Sometimes' is subtler than the nonetheless excellent and more popular 'Better Luck Tomorrow', which has had wider distribution due to its MTV imprimatur.Michael's moment of final disappointment with Darcy is powerful and Charlotte's scene with Justin is shocking. The reunion of Justin and Lori is a denouement. The resonance of the loaded scenes continues long after one has left the theater.