Louder Than Bombs

A fantastic, moody film about how to have real, authentic, and honest conversations after something traumatic has happened to you. Trier shows after this, and Oslo, August 31st that he knows how to engender sympathy for people that we wouldn't normally think worthy of a movie. And the flick is like war photography itself: beautiful snapshots of harrowing moments, left to linger in our head. Kudos to Eisenberg, the photography, and the ambient score. Highly recommended, and worth talking about.

trier is full of ideas and good at embodying/exploring those ideas formally, but this is such a tin-eared out-of-touch dad movie lol. the journal scene is an abomination; i'm sure i was writing laughably pretentious romanticist rejections of modernity at that kid's age, but i'm suddenly feeling pretty good about that because at least it wasn't 'i have fourteen pairs of socks and six t-shirts and egypt is in africa and my favourite race is high elf and today i went to the toilet all by myself'.

Works for the most part, but rings false one too many times to truly transcend its limitations. I kinda wish every movie ended with a similar final shot.

I really liked this movie because somehow, apart from the stuff like "meaning" and "form", "Louder than Bombs" offers the joy of watching the dense and complex relations of the members of a traumatized family. Trier can reach to a very high level of emphaty and sincerety without compromising the aesthetic endeavour, and unlike other similar movies this one accepts the pain and relativity of the traumatizing past and blesses it as an all too human reality of our lives.

This is neither his best nor his worst film. Very emotional and poetic. It felt like the director was struggling to strike a balance between the four protagonists, as if unsure whether to pay them equal attention or put an emphasis on one. Still, concurrently touching and soothing.

65-70 arasında kaldım ama biraz genele uyup 65 vericem. yanlız söylemek istediğim asıl konu bu değil. Joachim Trier'in tüm filmografisini bitirdim. Abimiz tartışmasız yaşayan en iyi üç yönetmenden biri. 70'ten fazla puan vermeyeceğim filmini izledikten sonra bunu söyletti bana.

I was engaged pretty quickly and this has strong moments and good performances, but there's something half-baked about it, perhaps due to Trier taking an awkward first step into English-language filmmaking. The radiant Huppert is underused and the youngest son's story ticks off too many timeworn tropes to offer anything fresh. Byrne and Eisenberg are quite good.

i realized how much my perspective changed watching this second time. there are a lot of pieces to a story and this film subtly, gracefully brings them together. but i appriciate it even more that it's a western perspective of war on middle east but it doesn't pretend to know or understand the war. it's just very sincere and multifaceted. it's really good and deserves more than one watch.

I'm honestly not sure whether this is really a steep decline from Trier's previous work, or I've just completely outgrown this type of overly earnest, affectedly adolescent navel-gazing nonsense. Probably a little of both. I guess it probably doesn't help that he's working in English for the first time either. Eisenberg and Huppert are fine of course, although underutilized. It's not a particularly bad film by any means, but hardly as "meaningful" as Trier seems to think it is.

There were a few parts I really enjoyed, but some of it was also boring & somewhat tedious. It was filmed well & performances were good. It deals with difficult subjects that are hard to make a satisfying movie with. It was a bit too somber & the pace sometimes felt too slow. They have to deal with anger, grief, sorrow & regret after the mother dies. The brothers relationship was priceless.

I didn't expect something so mawkish and didactic from Joachim Trier, but cheese often happens to foreign arthouse directors trying to court Hollywood success. High production values and technical proficiency are the best I can hand this. The platitudinous bereaved family drama didn't work for me at all, and the movie seemed much longer than it was.

I should probable watch Joachim Trier's Oslo, August 31st (2011), for this was impressive film making. I usually struggle with flip-floppity narratives, but here it fit the mood. Felt so real and genuine. And that's the key to what makes Louder Than Bombs (2015) such a heart opener.

At the theater, I had a very nice experience with the film. Good performances, cinematography, editing, directing, etc. After a couple of days, though, I became extremely annoyed by the film's fragmented narrative.

A very engaging drama wrapped in wonderful filmmaking. Possibly (possibly!) my favorite Trier film.

It has it moments, but there's something missing.

Watching this movie I got this impression that I became more and more convinced of - that the casting of Isabelle Huppert was a mistake. I am a fan of Huppert, she is one of my favorite actressess, let me be clear about that - but she brings the wrong feeling to the screen. She is just NOT this tormented war-photographer that also has a family waiting for her at home. I just couldn't believe that. And because of her importance for the complexity of the story, it doens't work for me.

How human it is to lead ourselves through emotional complexities. Grief through Trier's vision becomes an advocate for the truth. Confronting the present post-tragedy while maintaining our memories that put us in a dreamlike trance. It's sincere and promising for the future, as one should feel after such a loss. Some dream sequences that are tasteful and really add to it's empathy.

w/ Buket

I found myself pleasantly surprised by how deeply I was drawn into this story. A father and his two sons are each grieving the loss of the family matriarch as played in flashbacks by Isabelle Huppert. The characters are very well drawn and I really enjoyed the writing of this film. I found myself particularly drawn to the scenes involving the character played by Devin Druid. The character really captures the confusing and contradictory and overwhelming emotions that are felt during teenage years

father-son movie, very different situation, and strange behaviours, but very realistic and wise actions

"Am I really that hard to talk to?" Yes. Yes, you are, you selfish, insolent little shit. Apart from that, alright.

Viewed January 5, 2017. An emotionally cryptic examination of grief, and a painful meditation on observing and being observed. This is my first brush with Joachim Trier's work, and I was extremely struck by his ability to visualize those feelings that often seem unexplainable, through disparate images like cheerleaders leaping through the air or a stream of pee running down a driveway. Eye-popping symbolism for what it's like to be cold and unfeeling, or closed off but desperate to open.

1419: not bad but its confusing and tear apart!

Softly-spoken and an emotional drama about how a family father and his two sons deals with the grief of their lost mother. And the complexity of telling the story about who she was with three so different perspectives.

Depressed white people wander around rooms and streets trying to figure out their feelings about their suicidal mom/wife through off-voices and a non-linear narrative that navigates from memories to dreams and imaginative digressions. The real kind of festival prestige picture that takes place in every competition slot of any big film festiva these days.

Es gibt Dinge, die wir fast nie aussprechen: Unsere Sehnsüchte, unsere Enttäuschungen, unsere Trauer. Joachim Triers Louder Than Bombs handelt davon. Der Däne hat sich in Europa einen guten Namen gemacht; Louder Than Bombs ist sein US Debüt. Er zeichnet das Bild einer Familie, die vom Selbstmord der Mutter auseinander getrieben wurde... mehr auf cinegeek.de

Başka Sinema - Beyoğlu Sineması

Reviewing a month past watching - I can't really remember what the main theme was, just that it was all over the place.

It may feel like the smart movie it so desperately wants to be. But it isn't.

Joachim Trier made 2 fantastic, honest, simply: life-changing movies, that made me his groupie forever. But Louder Than Bombs has problems, while its narrative elements still are amazing. But they are not coming together and I can't find reasons why. The influence of an american production is appreciable, but that could be to easy. Anyway: You feel its Trier, you feel its Vogt, you see all these brilliant moments, but in the end, they didn't stayed in me. I just left the theater.