Watch The Light Between Oceans online free – A great drama again from Alicia. This film showed the real culture of old Europe in a simple film. The town, the island and the scenes were wonderful for a drama story in 1917. Very good Director and Cast. It isn’t the first film I watch to Alicia, but this film touched my feelings and I repeated some scenes from every movie I watched because of the complete drama.
The Light Between Oceans 123movies – Watch The Light Between Oceans online free
The Light Between Oceans review by jay_daguy – A lie that tells a deeper truth
If you are not addicted to entertainment motion picture and you prefer deeper meaning. This movie is in my point of view a must watch. Metascore rated this movie 60 whilst it should be 75 minimum. Watch and if I am wrong please tell me why.
Michael Fassbender just takes emotion to a very realistic place and portrays a man with fear, regrets, love. The decision he makes, as a man, we can relate to it. Alicia Vikander also takes you on a journey that helps you understand what being a parent mean and the sacrifices that comes along with it.
Rachel Weisz plays her role very well and together with the two main actors gives us some very emotional scene. I was touched by this movie and blow away by the acting.
Some beautiful shots are taken and really helps to get in the mood for something different, heartbreaking, questionable. The line between right and wrong can be difficult to see and this movie also decides not to give you what you expect. The narrative of the story is simple and yet very complicated once you try understand the reasons for certain decision. Without really realising you, as an audience you start to ask yourself, what would do, as a women, as a man.
Questions like this scares people unfortunately, but I think we should embrace those movies that challenges you emotionally. It is part of who we are.
The Light Between Oceans review by christian-larson – Amazing movie about relationship
The Light Between Oceans starts Michael Fassbender, Alicia Vikander and Rachel Weisz. And it’s the story of a couple living in a lighthouse and in the ocean they find a baby. And that’s all I am going to say since the trailer again ruined some important plot points of the film. This movie is very slow but is the kind of movie in which almost everything is on point and it never goes to a route in which derails the movie, I was pleasantly surprised! I loved this film! The cinematography is amazing with a lot of shots of the ocean and the wind, it was truly jaw-dropping. The acting was also great, Michael Fassbender as always gives a brilliant performance. But the actress who surprised me a lot is Alicia Vikander. She is fantastic as this lady who has lost a lot and has a lot of regret. She was truly Oscar-worthy. The story was great as it is not only about the relationship between Tom and Isabel, but it’s also about guilt, sadness, loss, etc. The ending floured me, I absolutely loved it. The only issue I have is that Toms and Isabels relationship is a bit rushed and with no real sense of direction, and the beginning is kind-off slow but then it picks it right back up the next 5 minutes. I had a great time with this film and I would recommend it to everybody who wants to experience a heart-breaking story that is actually realistic and authentic.
The Light Between Oceans review by f-rabit – I don’t read books, I watch movies
I don’t read books, I watch movies. The only books I read are Comics. Also I don’t appreciate people that exhibits vulgar display of power like the ones that posts: “Uh! I prefere the book…oh! the book is much better…OH! you should read the book…Oh! i can read…and yes, I read books, I’m smart…I’m sofisticated”. Saying that, I think this movie is great. Loved it. Fassbender is one of the best actors alive. Love all his work. The pace is alright, the cinematography not bad, the story is good. But the drama, the interpretations, the dilemmas, the moral issues, are much more intense than any other movie I saw during the last decade. I think that it’s impossible not feel very strong emotions when watching the movie. Actually I think it’s impossible not to cry. I only wish that the soundtrack would be more envolving and intense. I mean it’s not bad, but there’s no “Vangelis” or “Zimmer” material here. And this movie deserves an epic song. It’s very very strong. It’s very very intense. One of the best dramas I ever saw. And like I said if you don’t cry, I find it weird.
The Light Between Oceans review by Clayton Davis – “The Light Between Oceans” has class but falters the message of love
A film full of class, and one of the most aesthetically beautiful films to grace the screens this year, Derek Cianfrance’s “The Light Between Oceans” manages some tender and enchanting moments. With that said, it stumbles and falters in certain executions of character motivation and generic story structure. Cianfrance has performed remarkably well in his other two efforts (“Blue Valentine” and “The Place Beyond the Pines”) however, this is probably his weakest overall outing yet.
“The Light Between Oceans” tells the story of Tom and Isabel, who live on a remote island. Tom works as a lighthouse keeper, and is trying to come out of the horrors of World War I. As the couple begin to find happiness in their solitude, their inability to have children begins to plague their fairy tale. Isabel’s hopes and prayers are believed to be answered when a dead man and an infant baby girl wash ashore. While Tom grapples with the reality of reporting the incident, or making the woman he loves happy, he ends up choosing the former, kicking into motion some heart wrenching consequences.
The high marks are present and littered frequently throughout. It begins with the heartbreaking turn from Academy Award winner Rachel Weisz as the devastating Hannah, a grief-stricken mother whose arc goes into interesting territories. Michael Fassbender as the stoic and tortured Tom, has the actor showcasing another effortless and engaging presence that proves he’s got plenty more to offer the realm of cinema.
Co-star Alicia Vikander, recently just crowned for her riveting turn in Tom Hooper’s “The Danish Girl” earlier this year, is as capable as ever in portraying a difficult and unlikable character. The problem is the script doesn’t particularly offer her an opportunity for the audience to tap into the soul of Isabel. Her behavior at times is so despicable, it’s hard to wrap your head around any her actions and why she chooses to do them. What’s worse, it that we can’t understand why her husband Tom would love someone like her. It feels even at times, unnatural. Everything from the inception of their love, to the finding of their baby, and the surrounding events that follow.
Technically, the romantic drama is wholeheartedly intact. Composer Alexandre Desplat continues to deliver score after score, with strings and chords that tug at the heart. Desplat’s choice of swells and subtlety are quite remarkable. They are choices that can once again, land him an Oscar nomination for Best Original Score.
Cinematographer Adam Arkapaw (“Animal Kingdom” and “MacBeth”) glosses the screen with invigorating colors and breathtaking imagery. When the word “class” is associated with any work of art, Arkapaw is the epitome of understanding in that regard. He frames a scene with respect and adoration, fixating on the not so obvious objects and movements of a scene. He allows us to travel graciously through the picture, enriching a methodical and lavish wonder of screen shots.
With all these great high points provided, there’s a very visible and apparent weakness in the script. Constructed by Cianfrance, and adapted from the novel of the same name, he attempts to build a vivacious love story. He gives us two people who he is saying to the audience are “meant for each other.” Cianfrance ends up failing in establishing a believable and unique take on these two individuals from different walks of life. Tom, a veteran and tortured man of war is drawn to the passion and energy of the young Isabel. On paper, that can be sufficient but you must give the viewer motivation, action steps, and beats that prove the point you’re trying to make. There’s an elephant sized hole in the house that our director and writer tries to build.
The writer/director truly fumbles in the final third of the film. He chases ideas that are leisurely shoehorned in the story. Cianfrance chases suspense, nostalgia, heartbreak, and resolution. All of these things seem like they’re thrown together in a ten-minute scene reel. The filmmaker also manages to go down “J. Edgar” territory of bad makeup, aging characters that end up just becoming beautiful distractions of their former selves. There’s even an abrupt ending that manages to raise eyebrows.
Consequently, “The Light Between Oceans” doesn’t totally fail. It’s ambitious but unbalanced, desperately attempting to make a modern-day John Cassavettes. His fixation with love, and the dismal look at the reactions of people in a relationship is evident. Perhaps in the future, he’ll put a much more focused effort on the sub-stories and actions that surround them.
The Light Between Oceans review by Popcorninhell – Erodes Your Patience Like Sea Surf
Alfred Hitchcock once said, “film is life with the boring bits cut out.” If that be the case, director Derek Cianfrance seems to be making a career putting all the boring bits back in. At least unlike the dour, navel-gazing Place Beyond the Pines (2012), The Light Between Oceans sees Cianfrance fit to festoon his pensive yet rudimentary directing sights on a remarkably old-fashioned melodrama; the kind that involves a lot of sobbing, stares into the middle-distance and people wearing old-timey clothing.
The Light Between Oceans takes place largely on an isolated island off the coast of Australia where WWI veteran Tom Sherbourne (Fassbender), has taken a job as a lighthouse keeper. Known to be the stoic but sensitive type, Tom catches the eye of the young Isabel Graysmark (Vikander) whose affluent family owns half the nearby town. Their courtship is one of saccharine kitsch to be sure, but I’d be lying if I told you I wasn’t smiling as they eventually get married and carve out their own little corner of the sky on the appropriately named Janus Island.
Of course if you’re to credit anyone for making such sweetness easy to swallow it’d be the combined talents of Fassbender and Vikander, who flaunt their abilities like two Michelin approved chefs whipping something up for a cousin’s wedding. They sell the period detail, they sell the merits of their solitude, they sell the rapture of their blossoming love; heck they almost sell the story, which by the second act, works against them like a gale against a wafting paddle boat.
The film takes its time, but eventually ebbs into a lively littoral zone of story possibilities with the arrival of Lucy (Clery). Adrift on a small boat with her dead father (Ford), the infant Lucy is raised by the young couple who have been struggling to have children of their own. As one would expect, the couple find out a little more than they’d like about Lucy’s past and the rest of the movie builds itself on a series of moral choices that risk destroying their reputations, their marriage and their love.
Cianfrance certainly has a knack for ferreting out stories about the cross-generational ripple effect of one or two bad decisions. Combined with his striking command of film grammar from a purely visual perspective, Light Between Oceans begs to be compared to something like Atonement (2007). Yet the editing of Cianfrance’s films always seem to eventually stumble into a consistent stream of “then this happens, then this happens, then this…” which is the antithesis of good storytelling. The last half-hour of the film drags on for so long that it compares unfavorably to Return of the King (2003).
The Light Between Oceans starts deep and effecting, but eventually erodes your patience like ever punishing sea surf. The film was originally a novel written by M.L. Stedman and by all accounts it seems to want to stay that way. There are a lot of extreme closeups of actors looking pensive and contemplative, as if stuck in an inner monologue we can’t hear. Tom and Isabel narrate each other’s letters like the belles and beaus of a Civil War documentary. Finally there’s the lighthouse itself whose symbolism towers over the film like a cigar at a Sigmund Freud symposium. Yet in the film, everything feels shallow, frivolous and hokey; relying far too much on its leads to tearfully make this film worth something.