Romance
Noah’s Barks pages relating to the romance genre.
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Punch-Drunk Love
Punch-Drunk Love is a very unexpected mix of palpably uncomfortable anxiety-ridden drama, frilly romance, and absurdist comedy that comes incredibly, incredibly close to imploding in on itself by becoming a wild mess – but there’s just enough ambiguity to its strangeness to blur these cracks over and make it a really lovely trip. Any primary… (read more)
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Three Colors: Red
I try to share my thoughts on every movie I watch, but Three Colors: Red has me tongue-tied trying to express how I feel. As I watched what first seems to be another lovely human drama in this great trilogy, my mind eventually began to unravel when I realized the metanarrative Kieslowski was going for… (read more)
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Super Dimensional Fortress Macross: Do You Remember Love?
While not a replacement for the excellent original series, ‘Do You Remember Love?’ is a gorgeous victory lap across some of the series’s most poignant moments. (read more)
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Super Dimension Fortress Macross II: Lovers Again
The black sheep of the ‘Macross’ franchise, ‘Macross II’ was created with little involvement from the original creators. Surprisingly, it feels very on-point, but still little more than an average ’90s OVA. There are worse things something can be. (read more)
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Her
The film about love in the 21st century, and what’s incredible is that it may be so for centuries more. In a society where individuals are growing increasingly distant and romance becomes more necessary for the only genuine emotional connections one can find rather than physical, Her looks at where we’re headed and where we’ve… (read more)
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Chungking Express
The weakest thing about Chungking Express is that the first (much shorter) part of the movie is far superior to the second. Takeshi Kaneshiro has more charm and is much funnier than Tony Leung Chiu Wai, who is often expressionless. Kaneshiro is much more sympathetic due to his personality and his pain feels more real.… (read more)
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Amélie
The romance of France blooms alive when paired with the bright pastel colors and the light, string-heavy score of Yann Tiersen, but Amélie herself is quite unlikable. Audrey Tautou’s awkward movements are all with self-satisfied intent, each flick of the wrist coming across as planned instead of natural. It’s no surprise, then, that Amélie managed… (read more)