Thanks for the memories!

Am i the only one who thinks........Average?

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The acting in this movie is really good.

Wim Wenders(Buena Vista Social Club: Paris, Texas) is not for everyone. His films are slow and methodical. They do not hit you hard, but creep along unwinding in layers so that you can savor them like a fine single malt scotch.This film came out before Crash, but it is still that same format. There are many stories going on at once, and they are interconnected.Bill Pullman (Independence Day, The Grudge) is a movie producer (Mike Max) who finds himself in a situation that allows him to change his life. It wasn't such a great life anyway. He was only married to Andie MacDowell (Groundhog Day, Four Weddings and a Funeral). How can a man stand that! But his situation has been observed by a computer scientist that is working on a new tool of Big Brother to watch our every move. Like they don't have that now.There were some very interesting characters floating through the story. This was Traci Lind's last movie (?). She was an actress who lost a job when Max's movie gets shut down, and she runs into him, and she connects with a cop who is pursuing her and working the case, and he connects with the computer geek and well, I said it was all interconnected while separate stories are going on.It's Crash. It's Babel. It's both. It's neither. It's about life. It's about Big Brother. It's about relationships between the races. It's about Hollywood.It's Wim Wenders, so it takes some effort, but it is worth it. It's not about sex and violence: it's about people.Besides that it has Ry Cooder's music.

I'm not surprised that a child would not understand this movie. To me it was very meaningful, but only in terms of lived experience in jobs and politics. It's really "Brave New World," where authority figures keep order by putting up cameras everywhere and intervening to eliminate anyone who is disorderly or criminal. Violence is a huge preoccupation, but only tolerated as make-believe -- but the make-believe gets confused with real violence. Control, transgression, power are the pivots of the well-to-do. Ashcroft stuff.But the Mexican and immigrant families offer a warmer, truer alternative. In the end, they are more powerful because they are free and can think. The Kinko's episode, in which the police are defeated from taking control by their own preconceptions, is a good example. As underlings, laborers, the Mexicans understand what's at stake and they are everywhere, invisible to their employers. The intellectual technician doesn't catch on until it's too late.I'm told that what I saw was a re-cut and that the early version was indeed chaotic with a lot of loose ends. All I can say is that now this is one of the videos I rewatch and ponder.

I guess I'm just stupid. I wonder why any actors would subject themselves to a movie without a plot. Poor dialog, endless dribble supposed to be 'new age' poetry or 'Noir' 'Hip' ??? Bill Pullman seems to be in a coma throughout the whole movie. Still haven't figured out why he stayed so long in self incommunicado?? As for traci Lind, Define this movie for me, PLEASE! ,Terrible, defiine terrible,= The End of Violence. Of course, as always, this is just one mans opinion.

This film seemed to wander about aimlessly, stumbling over obstacles such as a definitive plot. Faced with two choices, falling asleep or dying of boredom I opted for a third choice and changed the channel. I have no idea how it turned out but I doubt the loss of this knowledge will have lasting effects.