Every Thing Will Be Fine Poster

Every Thing Will Be Fine (2015)

Drama  
Rayting:   5.5/10 5.9K votes
Country: Germany | Canada
Language: English
Release date: 16 July 2015

One day, driving aimlessly around the outskirts of town after a trivial domestic quarrel, a writer named Tomas accidentally hits and kills a child. Will he be able to move on?

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lee_eisenberg 22 August 2016

Wim Wenders became known as one of the leaders of New German Cinema in the 1970s. His work includes "The American Friend", "Until the End of the World" and "Buena Vista Social Club". "Every Thing Will Be Fine" is a very different turn for him. This look at the effect that a tragedy has on a writer (James Franco) takes a while to get going. Wenders's previous movies often looked at political issues, but this is more of a psychological drama. It comes across as flat. It's not terrible, but I expect more from Wenders.

Basically, I recommend Wenders's other movies. "Until the End of the World" is his best. Probably one of the greatest movies ever made.

diand_ 19 February 2015

Fmovies: Everything Will Be Fine is a small intimate movie, but suffers from an average screenplay and you can almost feel Wenders trying to bring intellectual depth to the movie. Although the center ultimately is the grieve and guilt following the death of a child in a car accident and coming to grips with that, it touches many themes which leaves the viewer purposively confused about the center and where to root himself in this movie in the first place: Broken relationships and families, stalking and a writer offering almost everything for success and coping with his remorse.

The use of 3D in the movie is sometimes quite effective. For example, the first two scenes worked well, showing dust and then snow creating a haze in the image suggesting the troubled mind of Tomas. In addition, there are other clever movie techniques at work: turning the camera in directions where you would not expect it to go (turning the camera away from the action or showing a wider angle of the situation); also making effective use of time, hopping forward frequently so the viewer has to adopt his frame of reference. Although the cinematography is not bad, you start missing the collaborations with Robby Müller producing his best movies in the past.

Gainsbourg (illustrator) I think is one of the oddest actresses around as she doesn't (or maybe can't) act. Franco (writer) is consistently clever and restrained in the movie, although you see him struggling in the first scenes. The score of Desplat is very apt for the atmosphere of the movie.

I hope Wenders finally wins his deserved first Oscar, not for this but for the excellent Salt of the Earth documentary.

steve-266-903132 7 January 2016

I do not have any idea why so many critics did not love this film. It had my full attention from the beginning of the first shot.

I quickly realized that the film was going to use 3D to (dare I say it) add depth to the cinematography. There are no 3D gimmicks used here, nothing flying at your head or giving you a headache - the 3D effect simply makes the imagery that much richer, much as the careful selection of lenses or film stock or any number of other a cinematographer's tools can do. Every aspect of the camera-work is fantastic (says me with a BA and an MFA in photography).

I really found it to be engrossing. There are a lot of individual vignettes that are shown separately, without any real transition between some of them but those are intended to be seen as parallel to one another. Other parts transition chronologically; the whole thing (I thought) flowed beautifully in large part because there were so many threads running through and between the various parts of the film. It's very linear, and yet it sometimes isn't.

And - James Franco did not annoy me. (I know, that's terrible of me to say) He often does, but this was a solid, mature performance. All of the performances were quite good, really; and they were built on a very good script. And you can tell that the person who put it all together has seeming effortless mastery of his craft. It's a film that's going to unfold in my head for a while yet. See it big if you can.

Koneya_Uchita 2 August 2016

Every Thing Will Be Fine fmovies. I think the most amusing review of this film that i've read so far stated- in a rather decisive manner- that this film is boring. perhaps i would suggest to the reviewer to change his tone of determination to a more forgiving one, like: "I did not find this film interesting" or " I couldn't quite capture what is it that the filmmaker was trying to convey".. or something in that sort. you catch where i'm going with this..This is a simple and straightforward story, no major twists, not too much happening in terms of plot. and that is the moment when the viewer is required to put some 'effort' in, to invest something, to take part, to be a part of this cinematic piece of art. but perhaps it is much to ask from a viewer who just wants to be entertained, and doesn't want to invest anything of his own into it, into the experience. perhaps this review isn't so much about the film but more so a mild expression of criticism for the inability of an individual to make an emotional investment when no reward or profit in return is apparent. but the reward is there- just need to try.

SnoopyStyle 8 December 2016

Writer Tomas Eldan (James Franco) almost hits Christopher who sled onto the snow-covered road. Tomas carries him back up to the house where his mother Kate (Charlotte Gainsbourg) comes out looking for her other son. Tomas realizes that he had unknowingly ran him over. He is haunted by the death despite not being responsible. His relationship with Sara (Rachel McAdams) struggles as they clash over her wish for kids. Eventually, he finds love again with Ann (Marie-Josée Croze) and her daughter Mina. He tries to help Kate while Christopher is obsessed with Tomas and that fateful day.

The movie opens with a great incident but then it goes off into a series of rambling flat scenes. Everybody speaks in that flat Quebecois accented English. The story keeps skipping ahead a few years and jumping over the emotional flow. It's flat tonally. It's disjointed. There are one or two great scenes with McAdams but it's all very fleeting. The story would be more powerful staying with Sara and Kate.

hanagomolakova 25 January 2016

It happens rarely that I disagree with the majority of the film critic reviews to such an extent as with this film. So, without repeating the plot here for the hundredth time, I'd like to jump straight into it: Contrary to the general feeling of slowness and flatness of the film, I feel that the story and the script called just for this sort of painfully slow, cinematic and gently nuanced filmmaking and Wenders is the master of this type of cinema. Yes, there are clichéd conversation exchanges including the somewhat melodramatic ending, however, the more alert viewer will have already been warned in advance that such will be the case in a scene right before the final sequence, so one is not surprised and can enjoy Tomas' agony to the very last second. Also, I very much enjoyed the cinematography and music, which is the best company to the lonely and painful journey Tomas is going through - a guilt and inner scar that is there to stay for life and one can only have little hope to get rid of such a stone ever. There was also a comment of one reviewer about the flatness and "lack of arc" of the female characters in the story. I disagree that this is the film's flaw - quite the contrary again - it is only very well crafted as such - as the women (actually, as well as Tomas' editor and father) only appear sort of "at the periphery" of his life, doomed never to fully understand his inner notions - a combination of a struggle as a lonely artist only topped by the tremendous guilt and pain he has to live with. The only meaningful connection he has - amazingly perverted, yet understandable at the same time - is with Kate, portrayed - yet again - so mesmerizingly by Gainsbourg, that can hardly breathe during their scenes together. The only flaw that I see in this film is the casting of Franco as Tomas. I don't really understand this choice because even though he is a great actor, this role, I feel could have been better fit to a less "boyish" actor, who could grasp all the weariness of Tomas' everyday grey and burdensome reality a bit better.. However, Franco does his best here and it shows he does get the thin line he has to walk on never to flip the character into too much melodramatic position. So, overall, quite an achievement again for Wenders and the whole crew for keeping this film balancing on the thin edge of the knife the film's tone depends on.

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