The greatest movie ever made..!

disgusting, overrated, pointless

The best films of this genre always show a path and provide a takeaway for being a better person.

Close shines in drama with strong language, adult themes.

Loved 'Wonderstruck's' concept, one of my favourites of the year in fact, and there is a lot to admire about Todd Haynes' previous work that includes the likes of 'Carol', 'Safe' and 'Far from Heaven'. Julianne Moore is always worth watching too.'Wonderstruck' is not one of Haynes' best, a lesser effort perhaps. That it is still very good (though divisive) just goes to show how good Haynes' previous work is. Can totally see why it won't work, and hasn't worked, for some, some may be alienated by the pace and structure of the film while others will be entranced and fascinated. It certainly worked for me and found myself really connecting with it. Not a perfect film by all means. It does drag and ramble in the middle act and there are scenes that go on for too long and could have done with a small trim or a complete excision. Can't find much to fault otherwise. Most of the pace was fine for me, it is deliberate but the atmosphere kept me entranced. The two time-lines/periods (one being from 1927, the other being from 1977) structure is fascinating, both periods but especially for 1927, and fluidly handled with no jarring. Loved how the two contrasted in how they were shot and their tones.It is a beautiful-looking film, exquisite at its very best. The different visual styles for the two periods were both wonderfully filmed, with a real sense of affectionate nostalgia for 1927, with the visual language of silent cinema, and a grittier one for 1977. Haynes directs with skill.A big star of 'Wonderstruck' is Carter Burwell's stunning music score, adding to and enhancing the atmosphere of both stories. The use of songs was inspired and nostalgic. The writing is sensitive and thought-provoking, though 'Wonderstruck' shows the beauty of actions and expressions reading louder than words. It is also another strong case of some of the cleverest and effective uses of sound design/editing of the year.The emotional impact of the story and how this fascinating concept was executed were most striking. 'Wonderstruck' is not just affectionately nostalgic, thoughtful and at times uplifting, it is also a very emotional experience. Especially the last half an hour, which reduced me to sobbing like a baby. The film really moved me and stirred my soul, part of me related to it too despite not ever being in the situation, and it never felt manipulative or trying too hard.Millicent Simmonds and Oakes Fegley are excellent leads, especially Simmonds, who is actually deaf in real life, in the more challenging role, what a beyond her years powerful performance. Julianne Moore glows with radiance in two roles. In conclusion, not for everybody but for me it was a beautiful and very moving film while finding faults with the middle act. 8/10 Bethany Cox

A cute fairytale about a child in search of the father and who ends up seeing his story is in some way magically with that of another person who lived something similar 40 years earlier. It's a cute movie.

The story of a young boy in the Midwest is told simultaneously with a tale about a young girl in New York from fifty years ago as they both seek the same mysterious connection. Wonderstruck is too long and too boring to make the viewers care and good actors like Julianne Moore and Michelle Williams are hardly in the movie to the point where we even forget them and the mother and son dynamic is never reaching it's potential or it's dramatic depth plus the plot arc with the 2 kids? was boring as well. (0/10)

One of those coming-of-age movies where you're supposed to be short of breath and gasping at the Big Reveals. I was gasping from the urge not to vomit. Ben, a precocious youngster (they're all precocious youngsters, ain't they?) embarks on a journey by himself to find his father because his mother won't tell him who his father is. Why? Who knows? There's absolutely no reason presented as to why the identity of the father must remain this big dark secret. Indeed, the father turns out to be quite a good guy. What the hell, Mom? Can't ask her because, you see, she died, carrying her incomprehensible and downright cruel reasons to the grave. So Ben has to move in with his aunt, who lives in a house right next door to his house, both on the same plot of land, apparently, and his house is bigger than the aunt's so why didn't they all just switch over? Got me. I guess it wouldn't advance the proposition that Ben is Cruelly Treated by his Aunt and cousin, necessitating the whole running-away-to-find-my-father shtick. As if that wasn't bad enough, superimposed over all this is a black-and-white sub-story involving Rose, a deaf girl who runs away to...well, we're not really sure. Visit the museum where her brother works, I guess. See, Rose is also cruelly treated because her Dad doesn't think 12-year-old deaf girls should run around New York City alone. And, get this, he wants her to learn sign language (why doesn't she already know sign language?)! Yeah, cruel bastard, he. Oh, yes, Ben loses his hearing during a lightening strike, so I guess that connects the two stories even though there's no reason why these two stories even relate...well, there is, but you don't know that until waaaay later, long after you've lost interest. Oh yeah, the 1977 New York City blackout's involved, too. What a godawful YA mess this movie is. I'd kick out my screen before watching it again