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This is a movie so particular in its godawfulness that it makes an exhausted reviewer want to come up with the film equivalent of Tolstoy’s observation of happy families versus unhappy families. But of course, all films, good or bad, are good or bad in their own way. I don’t know, though. “All I See Is You” seems extra-uniquely bad somehow.

Blake Lively and Jason Clarke play Gina and James, a married couple living in Bangkok (“Thailand,” a title helpfully adds). Gina is blind, or, kind of blind; the movie gives us shots from her point of view from the outset, and there are flashes of color but no discernible shapes in them; more vivid, and ostensibly stimulating, are the shots contrived to show us what happens in Gina’s imagination, as a lovemaking session with James is rendered, via CGI, into a mass-body semi-orgy abstraction. Director Mark Forster, working from a script he co-wrote with Sean Conway , wants the viewer to see through Gina’s eyes and mind in a huge variety of ways; and so, this movie is, among other things, over-directed within an inch of its stillborn non-life, replete with shots through distorting lenses, ostentatious variations in color grading, high angles, low angles, mirrors, glass reflections, on and on it goes. Kudos to the producers for getting Forster and cinematographer Matthias Koenigswieser every lens and crane and drone they could have possibly wished for.

While Gina is blind now, she wasn’t always; fragments of conversations with her sister Carla and several fragmented flashbacks reveal she lost both her sight and her parents in a car accident years ago, when she was still a teenager. But wait! Doctor Danny Huston has a surgical cure, at least for Gina’s right eye. And so an operation is performed and Gina enters the world of the seeing. And she does not like everything she sees.

“Are you afraid she’ll leave you for some better-looking guy?” asks Ramon, James’ feral artiste brother-in-law, when Gina and James arrive in Spain to visit him and Carla. James says no, but one of the things that gets shaken up by Gina’s return to the sighted world is a certain sexual curiosity. Gina allows Ramon and Carla to take her to a live sex peep show, and later, on a train, James allows Gina to tie him up and blindfold him, at which he soon balks. The whole business, though, is recorded on a 360-degree video camera, and after the couple returns from their trip, James watches the video obsessively as Gina grows more frustrated with their living conditions and their inability to conceive a child.

The overheatedness of the moviemaking aside, “All I See Is You” fails to engage because it has no characters. The actors play roles, but they’re bereft of personality; they have no interests, no opinions, no animating force. Forster clearly disdains exposition, and who can blame him given how clunkily it’s used on most films. But at some point you’re thinking: why is this couple in Thailand? (It’s revealed in a throwaway line that James works in insurance, while Gina has no vocation or job. But still.) How did they meet? Things like that. Might help to provide some dimension. But no.

Certainly the performers don’t help. Blake Lively may be a very nice person (and then again, she may not be), but as a screen presence she’s ersatz in a way that’s too perfect for these terrible times: she’s poised without showing any refinement, her appearance is a blueprint of sex appeal but she exudes exactly zero eroticism, and her demeanor overall suggests a void of intelligence, albeit one well-trained in putting on faces that say “thoughtful.” Clarke, with little to latch onto in the script, furrows his brow and lets his American accent run away from him over-frequently.

Once the film shifts modes, a little over an hour in, from “Scenes from a Marriage You Don’t Care About” to “Bad Gaslighting,” well, there’s a certain novelty value for a couple of minutes. As in the novelty value of “I thought this couldn’t get worse.”

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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All I See Is You (2017)

Rated R for strong sexual content/nudity, and language.

110 minutes

Blake Lively as Gina

Jason Clarke as James

Yvonne Strahovski as Karen

Danny Huston as Doctor Hughes

Marc Forster
Sean Conway

Cinematographer

Matthias Koenigswieser
Hughes Winborne
Marc Streitenfeld

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All i see is you, common sense media reviewers.

Strong sexual content, adult themes in relationship drama.

A Lot or a Little?

What you will—and won't—find in this movie.

A character who has to completely rethink her worl

Two sisters love each other very much. But charact

Brief fistfight.

Partial female (breasts, bottom, side) and male nu

Frequent strong language, including "f--k,&qu

Characters drink and smoke; smoking is lightly fro

Positive Messages

A character who has to completely rethink her world -- and behaves rather poorly along the way -- eventually comes to a state of independence.

Positive Role Models

Two sisters love each other very much. But characters also act out of jealousy and dissatisfaction in hurtful ways.

Violence & Scariness

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Partial female (breasts, bottom, side) and male nudity (bottom). Strong sexual content: Several hookups of varying levels of kinkiness, including in public. While the sex isn't explicit, it's treated in a thoroughly adult fashion. Encounters are what might be described as "unusual" and sometimes carry complex emotional weight.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent strong language, including "f--k," "s--t," "d--k," "ass," "damn," "hell," and more.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters drink and smoke; smoking is lightly frowned upon.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that All I See Is You is an emotionally brutal relationship drama about a blind woman ( Blake Lively ) who regains her sight and re-evaluates her marriage. It has strong sexual content, including partial nudity (breasts, bottoms, etc.) and several encounters that some might consider kinky/unusual. There's also strong language ("f--k," "s--t"), some drinking and smoking, and plenty of adult themes. But its bleak view of human behavior might be the most upsetting part for younger viewers. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

Parents say (2)

Based on 2 parent reviews

Not suitable for kids, teens even...

Blake lively film is interesting but just okay., what's the story.

ALL I SEE IS YOU follows Gina ( Blake Lively ), who was blinded in a childhood car crash. As an adult, she lives happily with her doting husband, James ( Jason Clarke ), in Thailand. But after a surgical procedure partially restores her sight, she begins to reassess her happiness -- and her marriage. She finds herself exploring to make up for lost time, alarming James. What will each of them do to live in the world they want?

Is It Any Good?

This well-acted, boldly directed psychological drama offers a bare-knuckles view of an accelerated kind of relationship decay. All I See Is You uses the idea of a happily married blind woman regaining her sight, then re-evaluating her marriage, to examine the primal fear most people in relationships have had at some point: that their so-far content partner might suddenly want out. Gina lives in a kind of bubble, cared for by the doting, if ordinary, James. She doesn't know what he looks like -- or, more significantly, what she does, as an adult. The operation that restores her sight early in the film not only allows her to see the world and all its colors again but makes her "see" herself and her life in a totally different light. She reassesses her self-worth and, despite James doing nothing wrong, her contentment with him. James finds himself struck by jealousy in the wake of his wife's sudden confidence and sexual power.

Director/co-writer Marc Forster ( Monster's Ball , Stay ) has had success with adult themes and getting strong performances from his stars. Here, Lively manages to stay sympathetic as the initially sweet, open woman who experiences multiple awakenings after regaining her sight. Without excusing Gina's behavior, the film at least makes her actions understandable. And Clarke is Exhibit A in the category "Actors Who Are Good in Everything." His James seems like the perfect husband ... until his foundation is shaken by jealousy. Miquel Fernández has an amusingly abrasive turn as a brother-in-law. Forster uses strong subjective cinematic technique to let us into Gina's experience, creating tension without resorting to clichés. The sexuality in the film plays as a reflection of Gina's awakening to the world beyond her old one, potentially leaving James and all his limitations behind. All I See Is You is no thriller (which some seem to have expected it to be, perhaps based on marketing), but its exploration of how far Gina and James will go for happiness is unsettling.

Talk to Your Kids About ...

Families can talk about how All I See Is You depicts sex . Is it loving and fulfilling or something else? Parents, talk to your teens about your own values regarding sex and relationships.

How are people with disabilities such as blindness typically depicted in movies? How is the blind character treated differently here?

James seems like the perfect husband, but things change after Gina regains her sight. Why do you think he does what he does toward the end of the film?

Gina seems suddenly dissatisfied with her life and marriage, despite James' efforts. Before the sabotage, did he actually do anything wrong? Why do you think her attitude changed?

Movie Details

In theaters : October 27, 2017
On DVD or streaming : February 6, 2018
Cast : Blake Lively , Jason Clarke , Yvonne Strahovski
Director : Marc Forster
Inclusion Information : Female actors
Studio : Open Road Films
Genre : Drama
Run time : 110 minutes
MPAA rating : R
MPAA explanation : strong sexual content/nudity, and language
Last updated : February 16, 2023

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All I See Is You Reviews

Despite an ending that layers on the drama and metaphor a bit more thickly than it needs to, this is a finely crafted piece of work and well worth looking out for.

Full Review | Original Score: 4.5/5 | Aug 14, 2020

This film is eminently passable.

Full Review | Oct 3, 2019

Nothing happens in All I See is You. The film is one life-altering procedure jammed into one ugly, bloated and cellulite-heavy existence that is otherwise similar to everybody else.

Full Review | Original Score: 1/5 | Sep 2, 2019

A stronger actor with better screen presence might have exploded the film's commentary on toxic masculinity, so Clarke's wishy-washy loser makes the drama intermittently dull.

Full Review | Jun 4, 2019

All I See is You's commitment to be scenic reflects its forgetfulness to be thrilling.

Full Review | Original Score: C | Oct 11, 2018

In [Marc Foster's] lucid balance between intentions, method and results, the film is, as Adrian Martin said, perfect. [Full Review in Spanish]

Full Review | Original Score: 4/5 | Apr 25, 2018

If All I See Is You had worked as a thriller, then maybe I wouldn't still be thinking about why Blake Lively put a dead bird in the freezer.

Full Review | Mar 8, 2018

The film is baffling, seemingly setting up every giant clue about something terrible happening, while only creating a lot of confusion.

Full Review | Dec 18, 2017

There are some issues in this erotic thriller that director Marc Forster wants to address, but the execution is wanting.

Full Review | Original Score: 2.5/5 | Nov 15, 2017

While this has interesting moments, Foster seems unable to follow the story into as deep or dark a place as it should go and the ambiguity in the storytelling is unwarranted and frustrating to witness.

Full Review | Original Score: 2/5 | Nov 15, 2017

There is an appreciated sense of unconventionally to the film. However, the story quickly takes an overemotional and theatrical turn which diminish the many topics the story could have explored.

This tepid psychodrama suffers from a weak script with an absurd conclusion.

Full Review | Original Score: 3/10 | Nov 2, 2017

Some nice visual perspective from (a sightless) point of view. Lots of pretentious BS, too.

Full Review | Original Score: 2/5 | Oct 29, 2017

Despite an interesting premise and a promising first act, All I See Is You ultimately fails to deliver much beyond a gradual descent into disinterest and watch-checking.

Full Review | Original Score: 2/4 | Oct 27, 2017

By the time things shifts into hackneyed thriller contrivances, it becomes increasingly difficult to maintain interest...

Full Review | Original Score: 1.5/4 | Oct 27, 2017

The film seems to lose sight of what it would really mean to regain one's vision. (Full Content Review for Parents - Sexual Content, Profanity, Nudity, etc. - also Available)

Full Review | Oct 27, 2017

An impressionistic art piece that tries and fails to be a compelling movie that's worth watching.

Full Review | Original Score: D | Oct 27, 2017

You might be laughing at the movie by the time you reach its go-for-broke final shot, but the look on Lively's face is enough to fulfill the idea that loving someone is not the same as needing someone.

Full Review | Original Score: B | Oct 27, 2017

Director Marc Forster takes a melodramatic plot from a Sunday-night cable feature and tries to expand it to the big screen with bigger stars and more exotic locales, but it still retains the predictability of a movie of the week.

Full Review | Original Score: C- | Oct 27, 2017

As pretentious, nearly unwatchable fiascos go, All I See Is You is that rare film that can empty theaters in its first (interminable) half hour.

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All I See Is You Is One of the Strangest, Most Satisfying Surprises of the Fall

In our dead-nerve Cuisinart culture, it will be very easy to digest All I See Is You as a GIF-accompanied list of meme-able “can you believe they did that” facts. It is, after all, the movie where Blake Lively, she of Gossip Girl and the ill-fated Preserve lifestyle brand, plays a blind woman who regains her vision; it’s also the movie where Blake Lively goes to a Barcelona sex show and ties up her husband in a failed bit of train-car BDSM. It’s directed by Marc Forster, last seen with 2013’s World War Z and a particularly unloved James Bond entry; it has all the markings of a middlebrow Hollywood contractor grasping at something like “real art.” But to dismiss it as the sum of its parts and the filmographies of its principal players seems, pardon the pun, shortsighted. All I See Is You is weird, but it is emphatically not dumb.

Nor is it boring, but only because of its restless, only occasionally sweaty refusal to be the tasteful issues-driven Sundance-y movie it sounds like on paper. In examining my own reaction to it, I realized that what felt foreign about it wasn’t its many sex scenes or its insane Hitchcock-worthy plot or the continued, inexplicable cognitive dissonance of Lively as a movie star. It’s that it is a small film, focused almost entirely on two characters, and it looks, well, rather expensive. There is at least a healthy cinematography and effects budget; Matthias Koenigswieser’s camera has a habit of soaring up mid-conversation into perfectly composed aerial shots worthy of an Apple TV screensaver, and early in the film scenes often dissolve into shimmering, near-abstract blurs. It caught me off guard a bit to see that kind of cosmetic investment in a story that’s largely internal.

Lively stars as Gina, a woman who lost her eyesight and her parents in a car wreck when she was a child. She’s now living in Bangkok with her husband James (Jason Clarke, currently on a roll as Hollywood’s go-to problematic husband) in a state of near isolation, both as a blind woman and an expat in a foreign land. An early scene of her taking a shower is rendered as Lively alone in a seemingly endless steamy void; sex with James is a kaleidoscopic mishmash of body parts that she has little choice but to remain passive for. James works in insurance and frequently stays out late drinking with his work buddies, but he’s by all appearances devoted to Gina; as her prime mediator with the world, he protects and guides her through life. At one point, James takes Gina to a nightclub to help shake off the heartbreak of their continued inability to conceive a child together. When they are separated, her helpless panic is palpable, as is her dependence on him.

All I See Is You suspects that this is by design, without explicitly saying so. When Gina elects to undergo an experimental procedure to repair the vision in one of her eyes, her world opens up again. She has the bizarre experience of seeing her husband for the first time. (“You’re not how I imagined,” she says with a diplomatic smile.) She also realizes she looks like Lively and starts dressing the part, as well as taking a more active role in her and James’s sex life. Gina wants to take in everything around her, and so do Forster and Koenigswieser, as the film becomes positively drunk on stimuli, from the exuberant color explosion of a flower market, to the LED monitor of a camera display. Koenigsweiser uses POV camerawork judiciously; but often finds more creative ways to convey Gina’s deeply subjective impressions of the world.

The result is something like a Lifetime movie directed by Gaspar Noé, equal parts stylistic audacity and lurid, crackerjack plotting. James, it turns out, realizes that there were some upsides to having a blind wife, particularly when Gina starts to attract the attention of other men. I won’t spoil what happens next, but the script, co-written by Forster and Sean Conway, is subtle and well-observed about the hair-trigger sensitivities of this power dynamic. Gina feels like a very specific woman who is rankled by the newly discovered dullness of her partner in a very specific way. When they travel to Spain to revisit their honeymoon location, they get into a minor argument — he swears he booked the same room they had before, and she knows, sight unseen, that it’s different. The conflict is small but revealing: He’s still feeling unexpectedly exposed by this new pair of eyes in his life; she’s annoyed not only that he doesn’t believe her, but that he might not be as observant as she is, despite years of advantage.

All I See Is You goes to an improbably operatic conclusion that might not work for everyone, but it’s these smaller, interpersonal moments that keep it from being pure camp. Still, as a psychological not-quite thriller, it’s consistently entertaining; as a visual exercise, it’s more adventurous than most would be. And somehow Lively, in the midst of all these high concepts, finally feels like a real person onscreen, with real hunger and perspective.

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Review: ‘All I See Is You’ is a sensual and visual experience

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The premise of “All I See Is You,” wherein Blake Lively stars as a blind woman who has her sight restored, sounds unbearably sentimental. Thankfully, the film itself is far weirder than that.

Director Marc Forster explores questions of identity in relationship to sensory experiences in this erotic-ish thriller, about a woman whose whole self opens up to the world -- for better or for worse -- after cutting-edge eye surgery restores the sight she lost as a child in a tragic accident.

Forster, who wrote the script with Sean Conway, seems fascinated by creating a cinematic experience of blindness. It’s a unique viewing experience, as he weaves a visual spectacle of morphing light and color, melding into abstract shapes, a kaleidoscope of fractured, fantastical images coupled with detailed sound design in an attempt to represent the perspective of Gina (Lively) and her experience of the world.

Gina lives in Bangkok with her husband, James (Jason Clarke), for his job. But not much about their background or past is fleshed out, beyond her flashbacks to the terrible childhood car accident that took her sight and killed her parents. He’s the protector of his vulnerable wife, and seems to both relish and strain at the responsibility of caring for her and helping her navigate her small world.

“All I See Is You” posits that our selves are defined by how we experience the world. If a sense is taken away or restored, it changes the way we see ourselves, the way we move, how we relate to others. With her sight back, Gina wants to eat up the world in great gulps - explosions of color at the flower market, faces in the crowd, a kayaking trip, her own face with makeup, her body in a sexy dress, a Spanish peep show with her sister and brother-in-law. With her sight intact, she becomes a different person - it affects how she presents herself to the world, changes her sexuality - and that doesn’t sit well with her husband.

As an actor, Clarke seems to shape-shift if the light hits him in a certain way. He’s at once handsome and guileless, but at the right angle his visage darkens. As he toes the line between loving and sinister, we never quite trust him. He leaves blind Gina for a minute too long outside a nightclub bathroom and later he seems wary of her, when she changes as the result of her surgery. His power crumbles as she gains hers, and we’re never quite sure how exactly he might try to hold onto that power.

There are moments of the experimental, abstract and sensual in “All I See Is You,” where Forster keeps the audience utterly unmoored, questioning where this story could possibly go. That sensation is a rare experience in most genre-based cinema, and with a few notable exceptions, “All I See Is You” is refreshingly resistant to predictability.

But for all of Forster’s experimentation, and his willingness to prod at the strange, jagged edges of this relationship, he ultimately rejects darkness. The final message may tip toward sentimental, but it’s in line with the film’s embrace of light all along.

-------------

Running time: 1 hour, 50 minutes

Rating: R, for strong sexual content and nudity, and language

Playing: In general release

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DVD & Streaming

All I See is You

Content caution.

In Theaters

October 27, 2017
Blake Lively as Gina; Jason Clarke as James; Ahna O'Reilly as Carla; Miquel Fernández as Ramon; Xavi Sánchez as Luca; Yvonne Strahovski as Karen; Wes Chatham as Daniel; Danny Huston as Doctor Hughes

Home Release Date

January 16, 2018
Marc Forster

Distributor

Movie review.

Gina is blind. She had full sight when she was a little girl, but a car crash turned her pupils to pulp, leaving the visual world nothing more than a strange, uncertain whorl. Her life in Bangkok—where her husband, James, works in insurance—is filled with sounds and smells and sensation, but no color. No visual delineation at all.

But despite her blindness, Gina spies some hope: An eye specialist tells her that he just might be able to repair one of her eyeballs. Naturally, she and James latch onto this thread of hope. Gina goes under the knife and …

It works! She’s dazzled by colors. She’s fascinated by patterns. She looks at her husband and …

Well, OK, James is a little disappointing in the looks department. But no matter, because at least they live in a beautiful …

No, make that a fairly average apartment, I guess, where their outdoor balcony is so close to the neighbors that Gina could almost reach out and yank a cigarette from the old lady across the way.

So what if life isn’t quite as beautiful as she imagined. If someone saw her for the first time, maybe they’d be disappointed, too.

Or not! Because Gina’s beautiful ! Like, Blake Lively beautiful, in fact! She’s young! Adventurous! She has no reason to be scared of the big, bright world anymore, not now that she sees its true colors.

So just what, Gina begins to ask herself is she doing with plain ol’, boring ol’ insurance guy James in a semi-dumpy apartment? How, exactly, should a gorgeous woman in the middle of Bangkok spend her time?

She’ll soon see, I guess—quite literally. But will James wish that she didn’t?

Positive Elements

Gina seems to love three things: sex, kids and dogs. And while her sexual predilections grow a bit … questionable, we have no quibbles with her desire to teach a young lass guitar or to save a pooch from being euthanized. Bravo, Gina!

Spiritual Elements

None, unless you read quasi-religious symbolism into a naked minotaur statue painted in what appears to be blood. (Bulls have long been associated in various religions with sex and virility, and plenty of gods over the ages have sported a bull’s head. In the context of the scene, the sculpture seems designed to evoke some sort of sexualized pagan ritual, with a naked man paying homage to the visage.)

Sexual Content

Before Gina regains her sight, she and James have a seemingly fulfilling sex life. The movie’s first scene takes us straight into their passionate lovemaking, descending into a literal kaleidoscope of naked arms and legs and backs and rears.

But when Gina begins to regain her eyesight, sex becomes less rewarding because of problems James is having. She later blindfolds and ties him to a bed. An explicit and lengthy conversation about fantasies and masturbation ensues. (Incidentally, she records the whole, uncomfortable act with a video camera, and James re-watches the scene later.)

Still other sex scenes involving other characters include more breast and backside nudity, as well as explicit movements and sounds. A woman’s shown showering from the side and rear. Another scene includes a man making suggestive pantomimes with the above-mentioned minotaur statue. We hear a suggestive conversation about a male swimmer’s “package.”

Gina takes a bath with Carla’s 9- or 10-year-old son—an interlude that Gina doesn’t find weird or creepy at all, but James believes is pretty inappropriate. (Both bathers have their critical parts covered in bubbles.) A man wears a woman’s dress, both as a joke and as something that’s apparently a turn on for him.

Someone apparently grabs Gina’s rear, and she’s upset when James seems unconcerned. She wears flattering, revealing garb. We see her in a swimsuit, too, at one point sharing the pool with what appears to be a squadron of gigantic sperm.

Violent Content

In flashback, we see images from the car crash that blinded Gina, including a shot of her blood-soaked face. (Both of her parents were killed in the accident, we also learn.) After Gina’s surgery, her eye often seems filled with blood. Someone else apparently is killed in a car crash. A neighbor wants to euthanize the family dog because she won’t have time to take care of it and her two children. A bird slams into a window and dies. (Gina stores the corpse in the fridge, for some reason.) Gina and James’ house is ransacked.

Crude or Profane Language

More than 15 f-words and five s-words. We also hear “a–,” “d–n,” “d–ks,” “h—” and “p-ss.” God’s name is misused seven times, while Jesus’ name is abused twice.

Drug and Alcohol Content

Gina smokes on occasion, even though James encourages her to quit. Others do, too, including the couple’s balcony-sitting neighbor across the street.

Everyone drinks, and frequently. Beer and wine seems to be the beverages of choice. James staggers into his apartment late one night, apparently drunk. Several scenes take place in bars or clubs.

Other Negative Elements

Gina and James’ dog experiences a long afternoon in their apartment, urinating and defecating everywhere. James steps in some excrement, and we see plenty of the stuff all around. There’s an image of toilet paper being flushed down a toilet bowl. Menstrual blood runs down Gina’s leg.

[ Spoiler Warning ] James isn’t so happy about Gina’s recovered eyesight, so he sabotages her steroid eye drops, sapping her ability to see. He lies to her and plays tricks on her sometimes, apparently to feed his own sense of power and increase her dependence on him.

The gift of sight is great. Really. But sometimes, sight is more trouble than it’s worth. Say, for example, when one must sit through a movie like All I See Is You.

But I’m getting ahead of myself.

Director Marc Forster has made some mighty fine movies in the past, including the family-friendly Finding Neverland , the surprisingly thoughtful Stranger Than Fiction and the super-problematic but widely lauded Monster’s Ball . You’d think he’d know what he’s doing and, as such, I wonder if All I See is You was intended, on some level, to be a metaphor: Gina might be a representation of female liberation, who can suddenly “see” a far bigger, broader, sexual world than she previously could experience, while James is a representative of manhood, fearful and threatened by the female’s newfound freedom.

But be it metaphor or not, it doesn’t make the movie any better. Indeed, from a spiritual point of view, it makes it significantly worse.

Gina’s sexual exploration dives into deeply problematic territory, both thematically and visually—from an extramarital affair, to an explicit peep show she watches, to her “innocent” bath with her not-so-little nephew. While the movie takes pains to sculpt James as a surly stick-in-the-mud, it kinda seems like he’s got a point: Maybe she shouldn’t be watching masked, naked performers do the deed live, in front of a paying audience. Maybe you shouldn’t be taking naked baths with young relatives on the verge of adolescence.

Freedom is a funny thing, and sexual freedom is no different: To be utterly, wholly free can be dangerous without judicious boundaries: To be simultaneously free and alive and fulfilled and healthy requires a certain level of restraint and self-policing. And maybe it’s just me being a James-like stick-in-the-mud, but it seems to me that just as Gina’s senses grow deeper, she herself grows shallower.

Aesthetically, the film fares no better. It’s so enraptured by its imagery and symbolism that it loses any sort of purpose and control of its own plot. This film is like a cake made entirely of food coloring. It’s bad, plain and simple—and not even the sort of bad that you marvel at its terribleness or puzzle over its deficiencies, but the sort of bad that feels like a stomach flu: You just want to be done with it and forget about it as soon as possible.

All I Can See Is You? Let’s not see this at all.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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Film Review: ‘All I See Is You’

Love is blind in this uneven relationship drama from Marc Forster, in which Blake Lively plays a blind woman who sees her life differently after her vision is restored.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Cinema is an inherently handicapped medium. Whereas humans experience the world through five senses, when we enter the theater, we are served by just two: sight and sound (the smell of popcorn butter notwithstanding). Perhaps this is why filmmakers are constantly trying to improve on these two fronts, with enhancements such as Atmos and Imax and stereoscopic 3D. Marc Forster has another idea: In “All I See Is You,” the director of “World War Z” scales back to his indie roots (to the sort of relationship drama he made 15 years earlier with “Monster’s Ball”), building a movie around a blind woman who recovers her sight and literally starts to see her life differently.

It’s an intriguing conceit, to be sure, and must have been fascinating for Forster to try to implement, allowing the director to experiment with new ways of representing the other senses. (At many times, the screen is either dark or completely out of focus, while sounds are amplified, or else he surprises us with abstract angles and seemingly random shots of clouds, water, and tropical fish.) But what does it all add up to? Look past the gimmick, and all that remains is an overly arty study of a lopsided marriage in which super-attentive husband James (Jason Clarke) actually seems to prefer when his wife Gina ( Blake Lively ) can’t see — and another opportunity for Lively to prove that she’s more than just a pretty face.

When she’s blind, Gina depends almost entirely on James. For all intents and purposes, he is her world. They live together in Bangkok, where he sells life insurance. Still traumatized by flashbacks to the accident that killed her parents and left her blinded more than a decade earlier, Gina spends her days hanging around their apartment — a minimalistic loft decorated just the way he likes it — or else getting exercise down at the local pool (where she’s not the least bit distracted by the handsome men in Speedos). Forster and co-writer Sean Conway, include a telling scene in which James takes her out to a nightclub, but spoils her fun by telling her that dancing makes them “look stupid.”

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Gina doesn’t realize it, but she’s the perfect trophy wife — a lovely, submissive young woman whose disability spares James the need for jealousy. And then comes the medical miracle: A complex operation restores the sight to her right eye, and suddenly, her reality is no longer limited to what James says it is. And though he should be happy for her, James is suddenly threatened. He’s not a conventionally handsome man, which she can now see. Their apartment isn’t welcoming, the way she had imagined, it, but a sterile prison of sorts.

In his insecurity, James quickly realizes that he could lose his wife if he doesn’t do something, and so he makes a series of gestures, some of them chivalrous (such as taking her to the Bangkok Flower Market, where she’s overwhelmed by the colors), and others almost desperate (claiming to have re-booked their honeymoon suite in Spain, he actually rents a far nicer room, as if trying to cover his tracks from earlier). Little by little, Gina begins to realize that the man she loves has been manipulating her, but instead of coming right out and showing the deception, Forster plays with the notion of limiting what she — or we — can see.

At one point, James agrees to be bound and blindfolded by his wife, and here, the two characters have a chance to play with the idea of how he might react to the tables being turned, but the scene sizzles before it can even get started — and later, watching James relive the encounter, it’s totally unclear what he’s thinking. Still, one thing is perfectly plain: James isn’t dealing well with his wife’s newfound independence, and as his jealousy mounts, her condition seems to worsen. The blurriness returns to her vision, but not before she leaves her husband to go watch a live sex show. And the problem doesn’t keep her from shagging that hunky guy (Wes Chatham) from the pool — so maybe James’ anxieties are more than mere paranoia. At any rate, Gina hasn’t had the chance to live her own life, and just as the operation is giving her that opportunity, her body apparently starts to reject the corneal implant.

Judged strictly by its plot, “All I See Is You” is a thin spin on the classic “Gaslight” thriller, where a husband manipulates his wife into thinking she’s crazy. But the material gives Lively far more to work with than any of her past roles, and proves just substantial enough for Forster to get creative with exploring new ways of representing certain sensations onscreen: What does sex look like to someone who can’t see? How does a shower feel to a blind woman? What is the visual equivalent of music? Forster — who once ventured into the far more Charlie Kaufman-esque realm of reconceiving reality with “Stranger Than Fiction” — presents intriguing ideas for each of these questions, but falls short of anything truly, well, visionary.

And so we’re left with a handsomely imagined, if somewhat grungily executed drama (surely it would’ve made more sense to hire a more experienced DP than Matthias Koenigswieser, who does just fine with the abstract interludes, but makes the rest look relatively dreary) in which the music — as opposed to anything visual — is perhaps the most beautiful ingredient. Brought up through the ranks by director Ridley Scott, composer Marc Streitenfeld supplies a lovely little theme, which repeats throughout on keyboard, strings, and so on. Throughout the film, Gina has been writing a song of her own, and when she finally sings it in the next-to-last scene, James can’t take it any more. What happens next is a blur of images — a tunnel, blood, broken glass, a baby. We can’t trust our eyes for a moment, but the lyrics remind that when the emotions are true, love is blind.

Reviewed at Toronto Film Festival (Special Presentations), Sept. 10, 2016. Running time: 110 MIN.

Production: A Sierra/Affinity presentation of a SC Films Intl., 2DUX², Wing and a Prayer Pictures, Link Entertainment production. (International sales: Sierra/Affinity, Beverly Hills.) Producers: Marc Forster, Craig Baumgarten, Michael Selby, Jillian Kugler. Executive producers: Brian Wilkins, Ron Perlman, Renée Wolfe.
Crew: Director: Marc Forster. Screenplay: Sean Conway, Forster. Camera (color, widescreen): Matthias Koenigswieser. Editor: Hughes Winborne.
With: Blake Lively, Jason Clarke, Ahna O'Reilly, Miguel Rernandez, Xavi Sanchez, Yvonne Strahovski, Wes Chatham, Danny Huston, Kaitlin Orem. (English, Thai, Spanish dialogue)

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‘all i see is you’: film review | tiff 2016.

What seems a perfect union between Blake Lively and Jason Clarke hits a rocky patch when her sight is restored after years of blindness in Marc Forster's psychological thriller.

By David Rooney

David Rooney

Chief Film Critic

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Blake Lively might have been better off swimming with that shark in The Shallows than subjecting herself to the gummy toothlessness of Marc Forster ‘s wet psychodrama All I See Is You . Playing a woman blinded as a child and now living with her husband in Bangkok, she undergoes a successful corneal transplant to restore her sight, only to discover that clarity of vision exposes the cracks in her marriage. Or something like that. The Southeast Asian setting has minimal relevance, beyond recalling the Pang Brothers’ The Eye . That 2002 horror chiller and its sequels unleashed post-blindness visions of ghostly nightmares that were far more memorable than this underheated intrigue.

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Movies | “All I See Is You”: A thriller with more…

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Movies | “all i see is you”: a thriller with more marital melodrama than mystery.

One and one-half stars. Rated R. 110 minutes.

The thriller-ish premise of “All I See Is You” sounds familiar enough: A woman, blind since a childhood accident that killed her parents, undergoes surgery to restore sight in one eye, only to discover that her seemingly devoted husband is — well, what exactly? A prude? A control freak? Someone who doesn’t like dogs?

In this bait-and-switch of a movie, marketed like a modern “Gaslight” but in truth a dim-bulb marital melodrama, the chills — let alone the shocks — are nonexistent. And the secrets that are revealed, to the extent that a viewer is able to make out what they are, remain murky, even to the end of the movie.

Blake Lively plays Gina, who, as the film opens, is living with her adoring, insurance-executive husband James (Jason Clarke) in what an on-screen title informs us is Bangkok. We are again reminded of the unlikely setting — given the scarcity of actual Thai people seen — when Gina is shown eating carryout from Bangkok Kitchen. Never mind that this sounds more like the name of a restaurant in Cleveland than in Thailand.

Director Marc Forster (“World War Z”) juices up the mysterious atmosphere in his story (written with Sean Conway) from the get-go, shooting with a blurry, impressionist evocation of blindness that you might call impair-o-vision. Sudden, loud noises intrude on the inchoate swirl of light and shapes, meant to suggest Gina’s enhanced sense of hearing but actually evoking a cheesy horror film. The movie has barely begun, and already it feels like we’re supposed to be afraid of something. Yet it isn’t clear what — or whom.

Once Gina regains her sight, her relationship with James almost immediately starts to deteriorate. She’s an animal lover, he isn’t, and he complains about the dog she has adopted without his permission. Permission? Uh-oh.

James also disapproves when Gina begins dressing more provocatively, dyeing her straw-colored hair light blond and, during a visit to Barcelona to see her sister (Ahna O’Reilly), watching a peep show featuring a couple copulating in animal masks. Although Gina and James’s sex life seemed fine before, it’s obvious that something is off now. In one scene, James panics when Gina ties him up, blindfolds him and mounts him in, one assumes, an effort to turn the tables.

Clearly, there was something unhealthy about their relationship all along: a power imbalance that has uncomfortably shifted now that Gina has gained more independence. At the same time, some of her new behavior is demonstrably odd. The trip to Spain, for instance, includes a morbid pilgrimage to the spot where Gina’s parents died. She also bathes with her nephew (Xavi Sánchez) and places a dead bird in the fridge after it flies into a pane of glass.

Throughout all of these head-scratching red herrings, Forster’s Hitchcockian camera keeps drawing our attention to the eyedrops that Gina’s doctor (Danny Huston) has prescribed to reduce inflammation but which seem to have the opposite effect, causing a loss of visual acuity. At one point, there’s a mysterious break-in at James and Gina’s apartment, and the couple’s dog goes missing. Gina, who seems to be drifting further and further away from her husband — to the point of infidelity — is going blind again. Whether it’s because of tainted drops — and who is doing the tainting and why — is an enigma, albeit not much of one.

“All I See is You” is a drama of sexual compulsion and control masquerading as a mystery. Despite a modicum of visual style and competent performances, it is unable to keep us guessing — or, more important, to make us care — long enough to work up true suspense.

Does James want Gina to go blind so he can feel needed again? Or does Gina, having experienced a world that is simultaneously more — and less — than the one she dreamed of, decide that she was better off in the dark? These are all good questions. But they are not answered, let alone asked, in “All I See Is You.” When Gina tells James that the world in front of her is “not how I imagined,” you may find yourself sharing that same sense of letdown.

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All I See is You (United States/Thailand, 2016)

When the movie opens, Gina (Lively) is happily married to James (Clarke). They live in Thailand (presumably because that locale is deemed more exotic than, say, Brooklyn). Gina, blind for about 20 years as a result of a childhood car accident that killed her parents, learns from a doctor (Danny Huston) that an operation could restore sight in one eye. She agrees to the surgery and, in its immediate aftermath, the couple is thrilled. But a dark side emerges. Reality doesn’t match how Gina imagined things would look and, as she adjusts to life as a seeing person, she is gripped by a sense of melancholia. James, on the other hand, realizes that the “new Gina” is not the wife he had grown comfortable with. This woman is more independent and free-spirited. She no longer relies on him for everything. She shows a predilection for kinky sex and adventures, neither of which interest him. He comes to the conclusion that “they” (meaning “he”) were happier when she was blind and he begins to ponder whether there might be a way for them to return to that state.

The movie perks up during the operation’s aftermath. The screenplay and actors do a good job portraying the shifting emotions that accompany this life-altering occurrence. Some, like Gina having difficulty coping with surroundings that don’t match the images she had created in her imagination, are expected. Others, like James’ jealousy of the freedom and independence sight imparts to her, are not. Had the movie explored these elements better (and with more energy), All I See Is You might have settled into an effective groove. Unfortunately, the story decides to take a lurid turn into B-grade psychological thriller material without bothering to worry about the “thrill” part of the equation. The grand finale is laughably absurd.

Had I not appreciated Forster’s previous work, I wouldn’t have been disappointed by what he accomplishes (or fails to accomplish) here. The story is pregnant with possibilities and the actors are committed to their roles (Lively, for example, does an excellent job with the scenes in which her character is blind) but the sluggish pacing and general lack-of-energy creates an impatience that’s exacerbated by the screenplay’s final act artifice. Blind to its missteps, the movie stumbles into a darkness from which it never escapes.

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All I See Is You (2016)

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ALL I SEE IS YOU

"unpleasant drama about unpleasant people".

What You Need To Know:

(PaPaPa, LLL, VV, SSS, NNN, AA, DD, M) Very strong pagan worldview about two unappealing married people who are very troubled individuals; at least 32 obscenities (most are “f” words) and nine profanities (most are strong); strong violence as car crash severely injures several people, with blood and shards of glass shown in them; very strong sexual content includes a strange fragmented image of dozens if not hundreds of tiny images of a naked married couple engaging in sex (each image is too small to be particularly graphic, but the overall effect is quite sexual), a blindfolded kinky sex scene between a married couple, three of the leads visit a live-sex club and watch other people fornicate on stage while naked with everything but genitals seen, and another couple is frequently frisky on camera before disappearing off-camera and being heard loudly moaning; a lot of sexual nudity, both male and female, but no genital areas shown; people drink alcohol to excess; people smoke marijuana socially; and, very strong miscellaneous immorality such as frequent arguments between a married couple who are deeply unpleasant to watch and incredibly selfish, annoying people are the movie’s focus.

More Detail:

ALL I SEE IS YOU is the story of a couple with a seemingly perfect marriage that’s upended when the wife, who was blinded as a child, regains her sight in an operation. ALL I SEE IS YOU is a deeply unpleasant drama about unpleasant, annoying people, with a strong pagan worldview, excessive foul language, and lots of lewd, illicit behavior.

Gina and her husband, James, have an almost perfect marriage. After being blinded as a child in a nearly fatal car crash that claimed her mother and father’s lives, Gina depends on James to be her eyes. Her dependence appears to solidify their passionate relationship.

Gina sees her world in her own vivid imagination with help from James’ descriptions. Despite her disability, the two enjoy a colorful existence in Bangkok, Thailand where James works in insurance, and Gina explores life in a foreign country.

It seems the only real hardship this loving couple faces is difficulty conceiving a child. However, when Gina is given the opportunity to have a corneal transplant and regains her vision, their life and relationship are upended. Gina now sees the world with a new sense of wonder and independence, which James finds threatening. It is only when Gina suddenly begins to lose her sight again that she finally realizes the disturbing reality of their marriage and their lives.

ALL I SEE IS YOU is an oddly shot, painfully slow movie about highly annoying people. Gina is incredibly selfish, vain and mean from the moment she regains her sight and is unappreciative of everything her husband provides from their home and much more. When her sister shows up with her sexually adventurous husband, Gina starts pushing her own husband’s boundaries, and their marriage starts to be impacted gravely.

With no likable characters and an utterly dismal pace and look, ALL I SEE IS YOU became one of the year’s biggest bombs, and perhaps one of the biggest bombs of all time. Its frequent sex scenes and nudity, abusive arguments, negative characters, and excessive foul language make ALL I SEE IS YOU a movie that no one would want to see.

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How to Watch Civil War – Showtimes and Streaming Status

Alex garland's latest is in theaters now..

Writer-director Alex Garland's latest movie for A24 imagines a near-future America embroiled in a second Civil War. IGN's Civil War review called it "a heart-pounding war road-trip movie with a fascinating premise and a poignant story about the importance of journalism.

If you're wondering how and where you can watch Civil War this weekend, take a look at the info below.

Where to Watch Civil War – Showtimes and Streaming

Civil War is availalbe in theaters right now . To find when and where you can watch the movie near you, check the local showtime listings at the main theater sites below:

AMC Theaters
Cinemark Theaters
Regal Theaters

Civil War Streaming Release Date

Civil War will eventually be released on Max, rather than Netflix or Disney+, per distributor A24's licensing deal with the streamer.

As for a potential streaming release date, we can look to A24's recent Max releases: Zone of Interest, Dream Scenario, and Priscilla came to Max 112, 126, and 119 days after their respective theatrical debuts. Should A24 stay within that 112–126-day window, Civil War would come to Max in the first half of August .

What Is Civil War About?

Civil War is a road-trip war movie set in a near-future America engulfed in a second Civil War. Here's the official synopsis from A24:

An adrenaline-fueled thrill ride through a near-future fractured America balanced on the razor's edge.

Civil War Cast

Civil War was written and directed by Alex Garland. It stars the following actors:

Kirsten Dunst as Lee
Nick Offerman as President
Wagner Moura as Joel
Cailee Spaeny as Jessie
Stephen McKinley Henderson as Sammy

Civil War Rating and Runtime

Civil War is Rated R for strong violent content, bloody/disturbing images, and language throughout. The film runs for a total of 1 hour and 49 minutes including credits.

Jordan covers games, shows, and movies as a freelance writer for IGN.

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‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

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‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

A woman with a bulletproof vest that says “Press” stands in a smoky city street.

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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Best sites to watch movies for free

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Streaming websites are more popular than ever — but free streaming services are even better. It’s easy to overspend on Netflix, Hulu, HBO Max and other paid apps. That’s why so many of us head to our browsers and type “free movie websites” or “watch online movie sites.”

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Check out the list below to see the 15 best sites for watching free movies online. Make sure to bookmark your favorites, so nights at home can be just as fun as going out to the theater — while costing you nothing!

If you love artsy or classic films, Kanopy is the best site for your free movie streaming purposes. With gems from the Criterion Collection, as well as modern indie masterpieces, Kanopy does its best to get high-quality and critically acclaimed cinema into people’s living rooms, all at no cost.

To use Kanopy, your local library, university or college needs to be connected to it. See how to check if your library is connected by tapping or clicking here . With a library card or your college email login, you can access Kanopy’s catalog at any time.

NOTE : Kanopy’s movie offerings change periodically, so if you want to watch “Moonlight” or “Lady Bird,” make sure to do so while they’re still listed. Movies come back to Kanopy, but it’s not always clear when, so keep that in mind when making your viewing selections.

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Popcornflix can be accessed through the web, but you can also download its app on Roku, Apple TV, Google Play, Amazon or Xbox to watch on your TV screen.

3. Internet Archive

Here’s another great free movies website:

Educate yourself and connect to the past by watching old movies on the Internet Archive, one of the most famous free streaming services.

Do you love classic movies? Like the silent and black-and-white films with the great stars of yore? Many of these now live in the Internet Archive, a site that captures all media, like books, music and films that have entered the public domain.

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Sony Crackle, formerly known as Crackle, is another excellent site to watch modern movies and TV shows for free, but, like with Popcornflix, you do so with ads. We know ads can be very annoying, but that’s the trade-off when you don’t want to pay for the film.

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Though primarily a platform for buying movies and TV episodes, Vudu also has many free feature-length films and TV shows for you to watch — once again, possible thanks to ads. Vudu is good at reporting how long movies will remain free (the catalog changes monthly), and it has a ton of modern movies and some beloved older dramas and comedies.

You can get Vudu on your computer, game consoles, streaming devices, smart TV, Blu-ray players, phones and tablets. You have to sign up for a free Vudu account to use the apps and site. So the next time you find yourself typing “free movies online sites” into your browser, head straight to this digital library instead.

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You may remember the IMDb Channel, named after the Internet Movie Database. Amazon owns it, and it’s renamed it Amazon Freevee, hoping the new name will attract some attention and much-needed viewers.

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Do you have a library card? Check out hoopla, one of the most helpful free streaming services.

Libraries offer tons of services as it is. Tap or click here to see what we mean . But your library card can get you hoopla as well. It’s the digital service of Midwest Tape, a company that provides media products and services like DVDs, CDs and audiobooks to libraries.

Just sign up for hoopla with your email and library card and you’ll have access to tons of movies and TV shows. Plus the ability to use the hoopla app on your phone, tablet, Amazon Fire device, Roku, Chromecast, Apple TV and Android TV devices.

It doesn’t work with every library system, so make sure to ask the next time you’re at your library. If you don’t have access, ask what your library can do to get it. Free, streamable movies are a great offering, so you could help yourself and your fellow library patrons by encouraging the signup.

8. The Roku Channel

If you have a Roku, you can access The Roku Channel, which gets you free movie and TV content. You can stream live shows on the Roku channel and watch an ever-changing catalog of movies and TV shows, all at no cost.

You can add your premium subscriptions to the Roku Channel to watch things like HBO and Showtime all in one place on your Roku. But free content is available even without them, though you may find similar options on Popcornflix, FilmRise, Vidmark, American Classics and YuYu.

For access to all of these libraries together in one place, The Roku Channel is worth adding to your device. But if you don’t have a Roku, you can watch many of its options at the other places listed above.

YouTube has its share of feature-length films uploaded illegally, and those tend to disappear quickly thanks to YouTube’s algorithms. Users who attempt this are pretty silly since YouTube offers many movies for free, in addition to ones available for rent or purchase — you just have to be willing to watch ads with them.

One way to see what free movies are available is to go to the Movies & Shows channel , available from the YouTube homepage, and click See More next to the Free to watch movies category. There are a few gems you might enjoy (particularly comedies) and tons of kid-friendly content if you have little ones you want to entertain.

Streaming has made movie watching much more fun, even more so when it’s free. Fortunately, there are tons of free online movie streaming sites, and all you have to do is sign up for a free account or watch a few ads along the way.

YouTube recently added 4,000 more free episodes of TV shows. Tap or click here for details .

10. Tubi TV

You can find anything on Tubi, from quirky, artsy films to classic movies that made history. You can also watch popular shows on it. One of its best features is its site design, reminiscent of Netflix. Just select your favorite genre and you’ll see Tubi’s library of options.

Its library is a little small, but what you’ll find is diverse. For instance, it offers a lot of different categories, from action to comedies. It’s also easy to use. Hover over an eye-catching title and you’ll see the star rating, summary and cast.

This is one of the best free streaming services. You can watch a ton of excellent oldies.

Although it’s ad-supported, the commercials aren’t overwhelming. It’s kind of like if you were watching TV straight from a popular channel: Every 15 minutes or so, you’ll take a short ad break. They aren’t too long — only around one to two minutes. Then, you can get back to whatever show or flick you’re watching.

This free website offers over 190 different channels you can watch. That includes newly launched movie channels, breaking news, sports shows and even stand-up comedy.

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12. Fawesome.tv

Want to try one of the newer free streaming services out there? Look no further than Fawesome.tv . Stream from here and you can watch over 10,000 HD movies and TV shows.

There aren’t any genre limits: you can watch action, horror, comedy and even children’s movies. It even has a “Watch list” that highlights popular new arrivals in different categories. It sometimes has themed sections to reflect the latest holiday. You can watch it on your smartphone, Windows PC or different smart TVs.

13. Haystack News

This is a great way to stay up with the times. Haystack News lets you watch live news channels, including ABC News Live, Al Jazeera, Bloomberg, CBSN, Euronews, Yahoo Finance and more. You can even watch live local news broadcast stations from various partners.

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If you want to watch news, add Haystack News to your list of free streaming services.

14. Live TV on Plex

In February of 2022, Plex released a new free live TV service. Sit through a few ads and you can watch thousands of free movies, TV shows, documentaries and more.

You get over 80 channels, many are filtered by genre. You can watch news channels, on-demand movies from Lionsgate, Warner Bros. and more, as well as some of the most popular films.

Live TV on Plex also has content for kids, anime fans, sports lovers and even singers, thanks to its karaoke channels. You can upgrade for $5 if you have a TV antenna to get live local channels.

Next time you sit down for movie night, remember these free streaming services

We verified these websites, but watch out for other lists you’ll find on the web. Say you type in the words “sites to watch movies online free” or “free online movie streaming sites.” Not every online movie website is as safe as the ones on the list above.

Some will send you to shady sites full of suspicious links that try to download malware to your computer. Unfortunately, it’s a common problem, even when you’re not typing something like “free movie downloads no registration” into the search bar.

Clicking a link is always a bit of a gamble. If you’re lucky, the link gives you the information you want to see, or it could take you to a malicious website or a download stuffed with viruses.

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Civil War ditches present politics in favor of gripping action and emotion

Ex Machina director Alex Garland wanted to tell a timeless human story, not an agenda-driven, partisan one

A blonde woman in a “Press” bulletproof vest stands in the White House in Civil War

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A version of this review ran in March 2024 in conjunction with the movie’s original coverage embargo. It has been updated and republished for the theatrical release.

In an era of divisive, high-stakes U.S. politics, it isn’t surprising to see so many people online responding to the entire concept of Alex Garland’s Civil War as if it’s inherently toxic. Set on and around the front lines of a near-future America broken into separatist factions, Garland’s latest (after the fairly baffling fable-esque Men ) looks like a timely but opportunistic provocation, a movie that can’t help but feel either exploitative or far too close to home in a country whose name, the United States, sounds more ironic and laughable with every passing year.

And yet Garland says that America’s present widespread divisions aren’t really what Civil War is about . The movie is about as apolitical as a story set during a modern American civil war can be. It’s a character piece with a lot more to say about the state of modern journalism and the people behind it than about the state of the nation.

It’s almost perverse how little Civil War reveals about the sides in its central conflict, or the causes or crises that led to war. (Viewers who show up expecting an action movie that confirms their own political biases and demonizes their opponents are going to leave especially confused about what they just watched.) This isn’t a story about the causes or strategies of post-united America: It’s a personal story about the hows and whys of war journalism — and how the field changes for someone covering a war in their homeland, instead of on foreign turf.

Lee Miller (Kirsten Dunst) is a veteran war photographer, a celebrated, awarded, deeply jaded woman who’s made a career out of pretending to be bulletproof in arenas where the bullets are flying — or at least being bulletproof long enough to capture memorable, telling images of what bullets do to other people’s bodies and psyches. Her latest assignment: She and her longtime work partner Joel (Wagner Moura) have been promised an interview with the president (Nick Offerman), who is now in his third term in office and coming off more than a year of public silence.

It’s a dream opportunity for a war correspondent — a chance to make history, and maybe more importantly, to make sense of the man whose choices seem to have been key in pushing the country over the line and into war. But securing the interview will require traveling more than 800 miles to Washington DC, through active war zones, and past hostile barricades erected by state militias or other heavily armed local forces. Tagging along on this potentially lethal road trip is Jessie ( Priscilla star Cailee Spaeny), a green but ambitious 23-year-old photographer who Lee obviously thinks is likely to get herself killed along the way — or get the whole traveling party killed.

The tension between Lee and Jessie forms the center of Civil War , far more than the tension between any particular political perspectives does. They’re potential mentor and her potential replacement, the past and future of their chosen career, allies but competitors, chasing the same things within a small profession known equally for its rivalries and its interpublication commiseration. That gives the film plenty of low-key, sublimated tension, which gets more air than the actual country-wide conflict the two women are navigating. For all that the movie is coming in a time when pundits keep warning about the potential for an actual new American civil war , Garland’s Civil War barely tips its hand about the specifics of the conflicts.

There’s plenty there for viewers who want to read between the lines, about which states are in revolt (California, Texas, and Florida all get passing mentions as separatist states) and about the soldiers — mostly Southern and many rural — who get significant screen time. (Jesse Plemons surfaces as yet another in his long line of terrifying men with clear potential for violence, and a dangerously blank affect that keeps people from knowing when that violence is coming.) But Lee’s angry exhaustion and Jessie’s fear and excitement over learning more about the profession from someone she respects are the real heart of the story.

All of which makes Civil War a movie more about why war correspondents are drawn to the profession than about any particular perspective on present American politics. And it’s a terrific, immersive meditation on war journalism. Lee and her colleagues are presented as half thrill-seeker adrenaline monkeys, half dutiful documentarians determined to bring back a record of events that other people aren’t recording. They’re doing important work, the movie suggests, but they have to be more than a little reckless both to choose the profession and to return to the battlefield over and over.

Lee never gives any big speeches about the difference between covering war in Afghanistan and in Charlottesville, but it’s clear she’s fraying under the pressure of watching her own country in such a rattled and ragged state, with hardened soldiers on both sides demonizing other Americans the way Americans have demonized entire foreign nations. Jessie, for her part, seems impervious to the weight of that reality, but still far less inured to cruelty and to combat. The two women push powerfully at each other, with a clear, beautifully drawn, yet unspoken sense that when Lee looks at Jessie, she sees her own younger, dumber, softer self, and when Jessie looks at Lee, she sees her own future as a famous, capable, confident journalist.

All of this character work is built into a series of intense, immersive action sequences, as Lee’s group repeatedly risks death, trying to negotiate their way across battle lines or embed themselves with soldiers during pitched combat. The finale sequence, a run-and-gun combat through city streets and tight building interiors, is a gripping thrill ride that Garland directs with the immediacy of a war documentary.

The entire film is paced and planned with that dynamic involved. It’s a particularly gorgeous drama, shot with a loving warmth that reflects its point of view, through the eyes of two photographers used to conceiving of everything around them in terms of vivid, compelling images. A late-film sequence shot as the group drives through a forest fire is especially beautiful, but the movie in general seems designed to impress viewers on a visual level. By mid-film, it becomes clear that Lee shoots with a digital camera, while Jessie shoots on old-school film, and that for both of them, that choice is important and symbolic.

In the same way, Garland’s shot choices and the movie’s vivid color keep reminding the audience that this is a movie about not just documenting moments, but capturing them well enough to mesmerize an audience. In some ways, Civil War comes across as nostalgic for an earlier era of journalism and photography. The collapse of the internet seems to have reset the news to a point where print journalism dominates over TV or social media, and no one seems to be getting their news online. It’s the most prominent retro aspect of a story that’s otherwise reflecting a potential future.

What the movie isn’t about is taking sides in any particular present political conflict. That may surprise and disappoint the people drawn to Civil War because they think they know what it’s about. But it’s also a relief. It’s hard for message movies about present politics to not turn into clumsy polemics. It’s hard for any document of history to accurately document it as it’s happening. That’s the job of journalists like Jessie and Lee — people willing to risk their lives to bring back reports from places most people wouldn’t dare go.

And while it does feel opportunistic to frame their story specifically within a new American civil war — whether a given viewer sees that narrative choice as timely and edgy, or cynical attention-grabbing — the setting still feels far less important than the vivid, emotional, richly complicated drama around two people, a veteran and a newbie, each pursuing the same dangerous job in their own unique way. Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn’t what those people will think it is. It’s something better, more timely, and more thrilling — a thoroughly engaging war drama that’s more about people than about politics.

Civil War debuts in theaters on April 12.

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‘civil war’ review: a torturous, overrated movie without a point.

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Running time: 109 minutes. Rated R (strong violent content, bloody/disturbing images and language throughout). In theaters.

All director Alex Garland had to do was title his new movie “Civil War” for it to instantly be deemed Very Important by tastemakers.

Who cares that the script is lousy? Or that the acting is monotonous? Or that the story amounts to a series of gruesome killings that you’d rather not sit through?

Doesn’t matter. It’s essential!

The gnarly film is about a modern-day domestic war in America and is, therefore, a prescient warning to us all, we’ve already been told with conspicuous enthusiasm by lefty newspaper op-eds.

They insist: You, too, could soon be tied up at a roadside gas station and tortured by dudes with Southern drawls.

But really Garland’s movie is no more vital to the discourse than “ The Purge ,” and is about 1% as entertaining.

“Civil War’s” shtick is that it’s not specifically political.

For instance, as the US devolves into enemy groups of secessionist states, Texas and California have banded together to form the Western Forces. That such an alliance could ever occur is about as likely as Sweetgreen/Kentucky Fried Chicken combo restaurant.

Still, one deadly encounter with a soldier played by Jesse Plemons leaves no doubts about what actual party he is supposed to represent.

The Western Forces are duking it out with the loyalist states who follow the president (Nick Offerman) — a fascist in an illegal third term — as well as the Florida Alliance and the New People’s Army.

Lest you arrive expecting cool battles, the fights are mostly just three or four guys shooting three or four other guys until a slightly bigger clash at the end. All we get are tiny tussles in a war supposedly affecting 350 million people.

Garland, with his incessant vagueness, is clearly aiming to keep the story universal rather than divisive.

However, considering his movie is set in a land of folks who love to discuss and argue about the news, it’s odd that none of the characters ever give concrete details about what’s going on. How did this conflict start? What does anybody stand for? Who knows?

Avoiding the elephant (and donkey) in the room makes the whole shebang feel fake, with the help of some lethargic actors.

Our guides through this not-believable hellscape are a quartet of unlikable war journalists whose lives we barely learn about beyond their resumes.

Kirsten Dunst plays Lee Smith , a hardened frontline photographer for Reuters who’s become numbed to violence and danger over the years.

Joel (Wagner Moura) is her reporter sidekick, who gets a thrill out of the battlefield … until he doesn’t. Moura’s performance, by the way, leads me to believe his numbskull journo couldn’t convince a telemarketer to talk to him.

Stephen McKinley Henderson is an aging New York Times writer named Sammy, who’s just about had enough. And Jessie (Cailee Spaeny) is a young, aspiring fotog who worships Smith and tags along for the ride.

They embark on a road trip from New York City — which is being bombed — to Washington, DC, in an attempt to interview the press-hating president who is hiding out in the White House.

The plot plods along — they drive a bit, guy gets shot, they drive some more, guy gets shot — and the dialogue is bottom of the barrel.

At one point, Joel walks into a clothing store in an eerily calm small town and says, “Are you guys aware that there’s a pretty big civil war going on all across America?”

This is what the New York Times called “a terrifying premonition of American collapse”!

Dunst is the best of the four performers , but a bitter, been-there-done-that reporter is such an old cliche. She adds nothing new to the archetype except her name.

A movie about a fictional second civil war isn’t a terrible idea, I’ll grant.

But how about instead of torturing viewers with a parade of point-blank executions, Garland tries making a well-executed film?

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‘Disappear Completely’ Review: Netflix’s Vicious Spanish-Language Horror Recalls ‘Drag Me to Hell’

Alison foreman.

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“ Disappear Completely ” may suffer from diminishing returns, but there’s an ironic pleasure in a movie about a cursed man losing his five senses one at a time that gets gradually worse as you watch it.

We meet our nauseating anti-hero at the scene of a picturesque accident; crushed by a light pole, a young woman in yellow bleeds beautifully. She’s evocative of Evelyn McHale (look it up!) and the photographer is quick to snap a front-page spread. It’s not until the local rag Santiago works for decides to edit the photographs that he takes explicit objection with the obviously immoral practice. When he’s summoned to the home of a local senator whose half-clothed body has been ravaged by rats, Santiago gets more than he bargained for as sensational pictures give way to an unimaginable revenge plot.

Co-written by Henain and Ricardo Aguado-Fentanes, “Disappear Completely” (AKA “Desaparecer Por Completo”) follows a formula that’s hardly overdone but manifests in tropes that will likely be recognizable to fans familiar with the genre’s typical approach to portraying dark magic. The script fails to find much to offer by way of compelling character development; Santiago’s girlfriend Marcel (Tete Espinoza) and ill-fated dog Zombie are perfectly interesting, just nothing to write home about. But what this twisted portrait of crumbling personhood lacks in earnest emotions it more than makes up for with a body horror that’s frequently subtle in execution but always brutal in conceit.

The filmmakers overplay their hand at times, distorting audio and visual elements to mimic Santiago’s decline but muddling some of the good work their actors have done in the process. Torres holds on particularly tight toward the end of the movie, doing his best to keep his performance from veering too far toward funny as the physical demands of his role ramp up and his dialogue falls to zero. Henain and Aguado-Fentanes could have helped their actor out by writing a more specific finale to what’s ultimately a better story in theory. Still, its skin-crawling presentation (you will feel, smell, and even taste a few scenes) and uniquely perverse consideration of a terrifying concept make it worth seeing.

You’ll want “Disappear Completely” to give you anything when it gives you quite literally nothing in the end. But with some memorably grisly moments and a star that’s committed to acting past his character’s spectacularly fucked fate, there’s plenty to enjoy while it lasts.

“Disappear Completely” is now streaming on Netflix.

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All I See Is You movie review (2017)
The overheatedness of the moviemaking aside, "All I See Is You" fails to engage because it has no characters. The actors play roles, but they're bereft of personality; they have no interests, no opinions, no animating force. Forster clearly disdains exposition, and who can blame him given how clunkily it's used on most films.
All I See Is You
Now that Gina can see again, she slowly starts to realize that her newfound independence makes James feel jealous, threatened and insecure. Rating: R (Strong Sexual Content/Nudity|Language) Genre ...
All I See Is You Movie Review
Our review: Parents say: ( 2 ): Kids say: Not yet rated Rate movie. This well-acted, boldly directed psychological drama offers a bare-knuckles view of an accelerated kind of relationship decay. All I See Is You uses the idea of a happily married blind woman regaining her sight, then re-evaluating her marriage, to examine the primal fear most ...
All I See Is You
This film is eminently passable. Full Review | Oct 3, 2019. Chris Sawin Reel Rundown. Nothing happens in All I See is You. The film is one life-altering procedure jammed into one ugly, bloated and ...
Review: In 'All I See Is You,' Sight Is Restored and a Marriage Rocked
Directed by Marc Forster. Drama, Mystery, Romance. R. 1h 49m. By Jeannette Catsoulis. Oct. 26, 2017. "All I See Is You" is halfway through before something resembling a plot kicks in, and even ...
All I See Is You Review
All I See Is You is weird, but it is emphatically not dumb. Nor is it boring, but only because of its restless, only occasionally sweaty refusal to be the tasteful issues-driven Sundance-y movie ...
Review: 'All I See Is You' is a sensual and visual experience
There are moments of the experimental, abstract and sensual in "All I See Is You," where Forster keeps the audience utterly unmoored, questioning where this story could possibly go. That ...
All I See is You
Say, for example, when one must sit through a movie like All I See Is You. But I'm getting ahead of myself. Director Marc Forster has made some mighty fine movies in the past, including the family-friendly Finding Neverland, the surprisingly thoughtful Stranger Than Fiction and the super-problematic but widely lauded Monster's Ball.
All I See Is You
All I See Is You starring Blake Lively, Jason Clarke and Ahna O'Reilly directed by Marc Forster is reviewed by Christy Lemire (http://www.ChristyLemire.com) ...
All I See Is You
Gina (Blake Lively) and husband James (Jason Clarke) have an almost perfect marriage. After being blinded as a child in a nearly fatal car crash, Gina exclusively depends on James to feel and "see" the world around her, and it appears only to solidify their extremely passionate relationship. She envisions the world in her own vivid imagination with help from James' descriptions. While the ...
"All I See Is You" (2017) Review
The entirety of All I See Is You is unappealing sex and blurry vision. There, I've just saved you two hours of your valuable time. The first half-hour or so of this horrible cliché romance presented as a psychological drama is borderline fascinating. The film opens with a surreal sex scene that seems to borrow from the calmer and more intimate ...
Film Review: 'All I See Is You'
Film Review: 'All I See Is You'. Love is blind in this uneven relationship drama from Marc Forster, in which Blake Lively plays a blind woman who sees her life differently after her vision is ...
'All I See Is You': Review
'All I See Is You': Film Review | TIFF 2016. What seems a perfect union between Blake Lively and Jason Clarke hits a rocky patch when her sight is restored after years of blindness in Marc ...
All I See Is You Review: Blake Lively Shines in Erotic Drama
A humorless director whose reach tends to exceed his grasp, an under-appreciated actress who's never found her niche, a premise that seems plenty overripe even before the story veers towards ...
All I See Is You (film)
Budget. $30 million [2] Box office. $678,150 [3] [2] All I See Is You is a 2016 psychological drama film [4] directed by Marc Forster and written by Forster and Sean Conway. The film stars Blake Lively and Jason Clarke. The plot is the story of a married couple whose dynamic changes when the once blind Gina begins to recover her sight, which ...
All I See Is You (2016)
All I See Is You: Directed by Marc Forster. With Blake Lively, Jason Clarke, Ahna O'Reilly, Miquel Fernández. A blind woman's relationship with her husband changes when she regains her sight and discovers disturbing details about themselves.
All I See Is You
A place they live in after James gets a promotion at his insurance company. Leading to the heart of the story: Thanks to Dr. Hughes, after decades of being blind in both eyes, Gina learns her sight can be restored in one. A process which is a success but has an unintended side effect - the insecurity of James.
Movie review: "All I See Is You"
Gina, who seems to be drifting further and further away from her husband — to the point of infidelity — is going blind again. Whether it's because of tainted drops — and who is doing the ...
'All I See Is You' movie review: You should probably look away
ALL I SEE IS YOU. 1 star, out of 5. Snapshot: Blake Lively stars as a blind woman whose relationship with her caring but insecure husband undergoes a dramatic shift with the arrival of a major ...
All I See is You
All I See Is You is different in tone and intent from any of those but, considering Forster's flexibility, it can't be considered a "change of pace." Lively also likes playing in different genres. All I See Is You comes on the heels of her time-traveling romance The Age of Adaline and her kick-shark-ass adventure The Shallows. The other ...
All I See Is You (2016)
With a thin script, the filmmakers attempted to drench the product in atmosphere. The result was a big-budget Lifetime Channel psychodrama about a couple of nut cases. 8/10. "We don't know who me is."- more a case of rediscovery inevitably gone bad than insecurity- and how not to cope with loss.
Watch All I See Is You
When a woman blinded in a childhood accident regains her sight, she begins to suspect her life and marriage might not be as perfect as she imagined. Watch trailers & learn more.
ALL I SEE IS YOU
ALL I SEE IS YOU is a deeply unpleasant drama about unpleasant, annoying people, with a strong pagan worldview, excessive foul language, and lots of lewd, illicit behavior. Gina and her husband, James, have an almost perfect marriage. After being blinded as a child in a nearly fatal car crash that claimed her mother and father's lives, Gina ...
How to Watch Civil War
Writer-director Alex Garland's latest movie for A24 imagines a near-future America embroiled in a second Civil War. IGN's Civil War review called it "a heart-pounding war road-trip movie with a ...
'Civil War' Review: We Have Met the Enemy and It Is Us. Again
Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor's face that, like Dunst's, expressed a nation's soul-sickness so vividly that it felt like an X-ray ...
Watch free movies online from these streaming services
4. Sony Crackle. Sony Crackle, formerly known as Crackle, is another excellent site to watch modern movies and TV shows for free, but, like with Popcornflix, you do so with ads. We know ads can be ...
CMT Music Awards 2024: See who won
Here's a look at this year's winners. Video of the year. Ashley McBryde - "Light On In The Kitchen". Brandy Clark feat. Brandi Carlile - "Dear Insecurity". Brothers Osborne - "Nobody ...
Civil War folds a tremendous human drama into its thin, vague politics
Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn't what those people will think it is. It's something better ...
'Civil War' review: A torturous, overrated movie without a point
Running time: 109 minutes. Rated R (strong violent content, bloody/disturbing images and language throughout). In theaters. All director Alex Garland had to do was title his new movie "Civil War ...
'Disappear Completely' Review: Netflix Crime Horror
Courtesy Netflix. " Disappear Completely " may suffer from diminishing returns, but there's an ironic pleasure in a movie about a cursed man losing his five senses one at a time that gets ...

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