Nice effects though.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Happy Together (Chinese: Chun gwong cha sit) (1997) Doyle's camera, Blur, slow down, upside down, Cut, pan, tilt, track, zoom Cinematography dream. Artful shots and scenes, Magic with Wong's direction. Two lovelorn lost souls Wandering Argentina, Not much else for plot, Still manages to take us On hypnotic ride. Like the waterfall they seek From the lamp they bought, This ode to loneliness shows Downfall of their love, From the boldly sexual start To the truthful end. Title's complete opposite, As Lai Yiu-fai says, "Lonely people... all the same." Sorrowful Apart. Despite aesthetic merits, Failed to capture me. Never really cared for them, Lacked necessary Character development, Not enough substance, Aside from a few key scenes, Ideally watched in background. Choka (long poem) is an epic storytelling form of poetry from the Waka period, an unrhymed poem with the 5-7-5-7-5-7-5-7...7 syllable format (any odd number line length with alternating five and seven syllable lines that ends with an extra seven syllable line). #Choka #PoemReview

Wong Kar Wai's 'Happy Together' Happy Together is a Hong Kong film released in 1997 and directed by popular Chinese director, Wong Kar Wai. It stars Leslie Cheung and Tony Leung and tells the story of two gay men who have moved to Argentina to escape Hong Kong after it has been handed over to the Chinese. It depicts a turbulent romance between the two characters Ho-po Wing and Lai Yui- Fai. I found the film extremely interesting in the way it represents not only relationships but the relationship between two homosexual men. The film tackles manipulation, neediness and loneliness, all common occurrences in many relationships. It presents Po Wing and Fai as a normal couple, no different than a heterosexual couple. I particularly enjoy how they both have a gender role, with one being more clingy and needy than the other. The film is rather touching and moving in the way it emphasises the damage a relationship can have on an individual involved. The acting was very good and convincing and you did believe the emotion felt. The mise-en- scene is also very interesting in this film, the use of black and white and colour to represent different time frames is very clever and interesting and the general low key lighting of the film makes it feel very gritty. The location in which it is set is not glamorous or desirable and in particular Fai's apartment is very basic and can also act as a metaphor for Fai's state of mind, messy and dark. The cinematography was very good at helping to tell the story in the best way possible and creates an almost claustrophobic feeling with many close and medium shots and locations often being small. The claustrophobic feeling from the closed in cinematography creates a similar feeling to what Fai's character must be feeling, closed in and trapped by his ex/lover Po Wing. All in all, I think this film is definitely worth a watch but could possibly be frustrating if you are easily bored. Its an interesting piece of cinema when it comes to psychology and is a interesting spin on a love story.

On-off lovers Yiu-fai (Tony Leung) and Po-wing (Leslie Cheung), whose relationship is bumpy to say the least, find themselves stranded in Buenos Aires, on a trip to the 'end of the world'. Both characters are unbalanced but Yiu-fai appears the more decent, quiet and hardworking. They constantly break-up and reunite, and the film follows this relationship (centring on Tony Leung's Yiu-fai) which for some inexplicable reason both men seem drawn to, even though externally Yiu-fai seems to have a deep resentment for the high-wired and unruly Po-wing. It's highly stylised, the use of imagery and cinematography inspired, beautifully shot and acted brilliantly. I was unfortunate in that my subtitles were ahead of themselves, but even this didn't greatly damage the brilliant pacing of the film. As Wong Kar-Wai plays with the camera, he plays with out emotions. The characters are tragic individuals, clearly yearning for some purpose, taking out each other's anger at being unable to discover said purpose on the other, but the film's ending leaves us with hope. Very emotional and poetic film.

Viewing this film was like watching the Tango! Leslie Cheung and Tony Leung were absolutely mesmerizing as lovers who exist in a state of conflict, constantly estranged from their homeland, their loved-ones and each other. The ending was heartrending (no surprise), but I found the interaction between the couple to be pure comedy. The situations that each character found himself in were anything but funny, however, the ups and downs in their relationship were so realistic that I couldn't help but laugh at how insane love can be.Regardless of race, class, gender, culture, sexual orientation and even geography, this movie will serve as a love letter to anyone who has the misfortune of being truly, madly and deeply in love with the one person on earth who drives them nuts. Those of us fitting this description will find many confirmations (but no comfort) in Yiu-Fai and Po-Wing's story. I could totally relate to Yiu-Fai when he stated that Po-Wing's illness was actually the time when they were the happiest together. Moreover, the story paints a vivid portrait of long-term relationships as swaying perilously between states of codependence, complacency and claustrophobia.If I had to decide on a letter grade, though, I would have to give the movie an "A-" instead of an "A" because I was hoping that Leslie Cheung would not be confined to the typical doomed drama-queen role. Ironically, the story explores individual, national and global identity when, throughout the cinema world, one is hard pressed to find performers who rival Tony Leung's depth and Leslie Cheung's range. Despite his hallmark androgyny, I personally believe that Cheung could play Rambo convincingly! The universal nature of the story was also threatened by its stereotypical depictions of gay life (violent relationships and promiscuity). I think the film's core message could have been conveyed just as effectively without the use of hackneyed scenarios. Fortunately, the amazing soundtrack and the breathtaking cinematography more than made up for any flaws.