Just perfect...

Good story, Not enough for a whole film

Excellent, Without a doubt!!

Story: It's very simple but honestly that is fine.

I found this film most affecting. There have been Winterbottom films I've liked when others haven't like, 9 Songs and Killer Inside Me and there again been disappointed with films such as Cock and Bull Story and The Claim. Face of an Angel is confusing and rather difficult to get a handle on at first, partly because of the change of names (place and people) and partly because the director wants it this way. He can't just come out and say, 'You are all fascinated by Amanda Fox, the devil with an angel face who gets off - in more ways than one'. Instead we are shown so many angles, given so many people's opinions and taken down so many dark alleys we become disorientated. The he strikes, the film maker within the film makes desperate attempts to connect with his young daughter via the often appalling Skype facility, confuses us with other possible killers, exasperates us with the Italian legal system and leaves us wondering just who among us has the face of an angel. Halfway through the film I felt that I was just not going to get it and by the end I was almost in tears. The victim really is the victim as is in a lesser way the would be film maker cast aside by his production company for not coming up with a film people might want to watch. Heroic. PS I should mention that Cara Delevingne was a revelation, managing to light up the screen whenever she appeared

The Face of an Angel, is first of all, not a very great film. It has its flaws, the pacing for example, is not griping enough for one to keep on watching even for a pretending-to-be crime thriller. But undeniably, it is unique kind of a film, and like Walter Raleigh says, "it is adulterated, sanded poetry that makes the best lectures". I never read the book though, so I only feel what the film lead me to. and i have to admit, it is pretty remarkable, give or take. The story is centered around a crime solving: two roommates, Elizabeth the good angelic one is murdered and the public incensed by the media blames the naughty girl Jessica , making guilty and jail of her, which is a typical analogy for the biblical Eva-Lilith situation. The film goes through three genre changes till it ends. The crime thriller is only a pretend, that part is made clear as we are a quarter in the film where the writer-hero warns us that his film would be one of the exceptions of crime thrillers, which means there would be no crime-solving in the end, surely there is none as the film ends. The writer hero actually spends the entire time trying to figure out how to make sense of what he is now telling, constantly explaining his topology and originality in story-making, which can be quite tiresome and irritating to watch sometimes, i have to admit. But the suspense of the film at the same time shifts from a crime solving to a genre figuring: we wonder how the writer-hero is going to make out of this story-telling after all. In the process, the cinematic style changes as he teases us with the structure of Dante's Infernal, taking its semi- Gothic elements, making parallels of the plot: Beatrice guides Dante ascending from hell, as Melanie (Cara's character) guides the writer hero out of his gloom. Then Melanie lead the hero to read"La Vita Nuova", which promises another possible genre change. By now, if any audience haven't abandon the film, they are about to witness the strong ending the film presents. It is strong not in the sense of plot, 'cause apparently nothing happened or is solved: Elizabeth is dead with no one to be blamed, Jessica is set free, but still not free from the blame of the public; it is strong ending shot in a series of melancholic montage, linking the hero's child Beatrice, the adolescent Melanie, and the deceased Elizabeth together, forcing the audience to see the inevitable affiliations between the three: apparitions of the same angel, in her different embodiment of ages. Thus, the film is eventually about a lamentation of beauty passing away, just like the father laments her daughter Elizabeth in her funeral, quoting Dante's lamentation on his beloved Beatrice, the same way the writer hero tries to get hold of her daughter via Skype, through image, but never does for real. It hints in the end, Melanie could be a figurative character out of the writer hero's creation, to let show the beauty's mysterious ways in the world before its passing, the imaginative figure that in reality passes without anyone sees, who also helps him work through his trauma to its lost, similarly as Beatrice to Dante in the inferno. The great thing about this ending metaphor is that it is not explicitly showed,which makes sense given the main tone of the film is still realistic despite monsters appears occasionally in hero's nightmares, breaking the genre for a bit of a sec. The ambiguity of the real and fantastic in this film turns out a big win for me. It's subtle, and definitely requires some patience and overall working-through on the audience's part. When one does figure it out , it leaves you with this lingering sense, a sense of love as well as a reminiscence of the beauty in a general sense, as Dante's La Vita Nuova promises us.Of course, that just might be the original novel telling, not so much about the movie itself. Might as well read the book.

Some will say that t is still too soon to be making a film about a murder case that shocked the World and they are arguably right. I did not know this was about that until I started watching it and will judge it as a film in its own rights. Anyway Daniel Bruhl plays a film maker who has had a run of bad luck and wants to make a film about the murder case and he teams up with a journalist played by Kate Beckinsale; she has been following the case from the start in Sienna.The case is ongoing as the film develops and Bruhl's character gets completely immersed and for those that followed the case there will be moments of déjà vu through out. There are many references to Dante's 'Divine Comedy' too and some rather awkward dream sequences.Is it any god though? Well I was not disinterested at all but it was still not riveting. Everyone puts in a good performance although some are a bit stereo typed – especially some of the journalists. So it is above average but I could not get away from the fact that for some people this case is still a living hell and that cast a pall over any 'enjoyment' (if that is the right word) that I could get from this production – hence my rating but I would not try to dissuade anyone from seeing this especially if you are fan of either of the leading actors as they both serve their trade well.

This film tells the story of a film director who sleeps with one of the hottest women in the world while on a trip to Italy. After which he decides to get totally wasted on coke, marijuana and alcohol. Then he ditches one of the hottest women in the world for one of the other hottest women in the world who is half the age of the first one. Meanwhile he stumbles from party to party stoned and drunk, ignoring the other not so hot women characters that he encounters. He also has an annoying not so hot wife who pops up from time to time. He finally settles for the younger hot one but I imagine it not lasting too long. There is a side story about the murder of one super hot chick by another hot chick. Not all is lost though because Cara CAN act!