Great Film overall

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It’s sentimental, ridiculously long and only occasionally funny

An old-fashioned movie made with new-fashioned finesse.

Honestly, can't get my head around this one. Standing ovations at Sundance? Really? For this? So Saorse Ronan plays an emotionally blank young woman with a perpetual look of slightly pained superfluity, who emigrates to New York from a picture-postcard Ireland, depicted as a pursed, gossipy village of church-on-Sunday piousness and coded snobbery. Once in the Big Apple she drifts meekly through a succession of not-very-interesting adventures, with the blandest supporting cast of cardboard cutouts assembled in any film since the 1950s. Eventually she ends up back for a stretch, works as an accountant (the drama!) and walks on the beach a couple of times with Donal Gleeson, before having a teacup spat with the old cow that she used to work for and deciding, almost reluctantly, to return to her husband in the 'States. And that's it.While it's basically inoffensive fluff, the sheer volume and intensity of critical praise heaped on this picture completely beggars belief. Ronan, while watchable, is entirely one-note from start to finish. The entire supporting cast are pasted in from kiddult romances from the 1950s, with cheerful stereotypes taking the place of any meaningful character development. Slavishly constructed around Ronan's mooney presence, the film floats aimlessly across the screen, providing neither insight into its lead character's emotional life or throwing up any truly troubling obstacles for her to overcome. In the end, so little happens, and all the characters are so thinly drawn that the viewer (or this one anyway) finds themself asking, "what did I just watch, and was I supposed to care? If so, why did they make the lead character so dismally, relentlessly uninteresting? Why did she ditch the quirky, outspoken girl in her boarding house for the shallow, mean-spirited bimbos she works with? Was she actually into the young bloke she was romancing back home, or was he just a pleasing distraction? Would she really have left her husband just like that? Why wasn't he more angry with her for not writing or calling?" Ultimately, with stakes this low, such an empty lead character and a story so devoid of dramatic incident it's almost astonishing that this even garnered a theatrical release, let alone the fulsome admiration of critics worldwide.

I keep watching it over and over again. I find the characters so intriguing and yet so secretive that I need to keep watching it to try and learn more about them. I find the character of Tony, played by Emory Cohen, just perfectly acted.

Brooklyn is the story of Eilis, a young Irish woman crossing to 1950s America to start the life she couldn't find in Ireland. At first overwhelmed, she soon finds her feet and the love of her life until tragedy and an unexpected match leaves her torn between her lives in Brooklyn and Ireland.The focus of the movie is place strongly on Eilis and her personal struggles; her sense of loneliness and vulnerability being homed in on by the director in an effort to elicit an emotional response, the beautiful musical score went a long way ensuring this hit the mark most times (though the emotion of the opening scenes and some in the third act felt very contrived). The introverted personality that we follow for the opening of the movie made for an uninteresting protagonist, aimlessly plodding along until she finds love in the form of an Italian plumber (yes, really...no, his name isn't Mario).However, the slow start is soon made up for. Set in an idyllic alternate Brooklyn adhering to the stereotypical 'American Dream' holding a quietly romantic tone throughout (as dictated by lead Saoirse Ronan) as the couple fall in love in the most unabashedly cheesy but endearing way. It didn't feel like anything new but it did feel very well done, in large part to the charming performances of Ronan and Cohen throughout.Following this, the movie began to outstay its welcome, the effect lack of a fleshed out secondary cast were felt and my attention would waver a bit as the third act commenced, suffering from the same forced emotion of the opening scenes of the movie. While the dichotomy of Eilis' identity was well-established, the film was taken over by an oppressively overly-sentimental tone which made me feel detached from the movie rather than investing me deeper. Brooklyn is a slow-burning love story and a unique immigrant story centred on the identity crisis of Eilis, though it suffers from some drawbacks; most notably a lackluster secondary cast and contrived attempts at sentimentality in places. Despite this, it's still something I'd recommend for its lovable protagonists (Ronan and Cohen) and their winning performances.

The awesome and lovely Brooklyn movie - 2015 and the genre of drama and romance. In the true sense, doubts is the most appropriate word in the key moments of the movie stream, the audience in an inner challenge is in the position and getting right from the first character of the story in that moments. Especially when in the film we find that the personality of the first character of the story, Ronan Saurice, as Ellis, is a highly introverted, conservative and literary human. On the other hand, the situation for the first character of the story is such that returning home with a rotation of one hundred and eighty degrees of livelihood situation and working conditions. Doubts and finally thinking, perhaps by coercion, but ultimately by accepting particular conditions in a unique way, this film has to be seen with the world and more angles familiar to introverted people emotionally.