Yawn. Poorly Filmed Snooze Fest.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

This is possibly one of the worst movies around. As other reviews, synopses, etc have explained, the "plot" (there actually is no plot or even a sign of one) is about a suicide bomber pre- and during the suicide bombing. I believe the title is meant to convey that the movie covers two days and nights, but even that's guesswork.The movie has been billed as "minimalist", and "stripped to the essentials". Well, not unless you consider boredom to be the essential minimalism. The first 30 minutes essentially cover unknown female in closeup dimly lit profile whispering for a solid minute (she is apparently praying but even that's unclear), getting off plane (we assume, all we see is her skirt and then the back of her neck, which btw the camera remains glued to every time she is moving), being picked up and deposited at a hotel room after a couple of non-informational stops (well, we do learn she's either not Asian or fully un-Asianized Asian because she has no idea how to use chopsticks). In the hotel room --other than a few minutes with 1, 2, and then 3 guys who all arrive wearing the same pants, shirt, and (so help me God I am serious) black ski-mask-plus-ballcap-bill patting her down/taking pictures of her in what's apparently meant to be Che-Guevara-clone gear/rehearsing her verbally in a couple tiny parts of whatever she is supposed to do/eating pizza with her-- we get to watch her bathe (in nauseating detail, but, guys take note: none of the naughty bits show up on camera ;) ), clip her nails, wash out her socks and undies, turn on lights, chomp down some food staring at nothing while alone, lie on her back and walk her feet up the wall, fol a cellphone over her tennis show lace and flip it around a couple of times, and sleep twice (the first time looking like a puppet whose strings have been cut, or a dead person).That ridiculous sleeping posture may actually be one of only two actual "messages" in the flick...some existential hoohaw about her being "dead" already. That would actually fit with the first sight we had of her face back at the airport...when she turn around and we instantly think this is a horror film because, between her very heavy jutting forehead and brow ridge and the black circles completely surrounding each eye she looks like she's the lead in "Night of the Living Dead X".The other "message"? Boredom. Ours, as people subjected to this long lack of content. The actress' or character's (it is not clear which...and that can be seen, I suppose, as a measure of the actress' talent...that we cannot tell if she is that bored or she is that good at portraying a character who is that bored).I finally quit wasting my life watching this turkey and skipped ahead to the last 5 minutes. Then back to the bomb not going off. And then, thankfully, called it a day.I love indy flicks. But just because it's an indy is no reason not to say so when someone makes a flick with minimal worth.....and as a last btw...it ain't nece-celery so that ya can't tell the chicks ethnicity....in fact, you can eliminate several possibilities right off.

Day Night Day Night is disturbing and scary, in a good way. Julia Lorkev has done an awesome job showing the emotions, inside battle and thoughts of a suicide bomber right before action, in a minimalistic way. She has wisely chosen the actress, the locations, the desaturated colors (especially in the first half). I especially enjoyed the closeness and the intimacy of the movie through its filming style. The other point that I noticed is the the way Loklev used some life routines (such as eating) and the contradictions they sometimes make, in such an artistic way to captivate such deep feelings. It is captivating, beautifully shot and definitely not an easy movie to watch.

When Hannah Arendt coined the expression "the banality of evil," surely she must have had something like "Day Night Day Night" in mind. With chilling detachment, this brilliant and terrifying film chronicles the last 48 hours in the life of a potential suicide bomber. It is a topic rife with all sorts of potential pitfalls, both political and cinematic, yet the movie succeeds as a work of art because it never resorts to sensationalism or exploitation to get its point across.Filmmaker Julia Loktey has deliberately eliminated any back story that might explain why a beautiful young girl like "Leah" would be willing to perform an action as inconceivable and incomprehensible as the one she has planned here. The whys and the wherefores are really of little concern to Loktey. Instead, she has chosen to concentrate on the almost strikingly banal, step-by-step process "Leah" must go through to complete the deed. Indeed, it's amazing how, through context alone, even the most mundane of actions - brushing one's teeth, taking a bath, clipping one's toenails - can suddenly become imbued with the most terrifying significance and sense of foreboding. It's almost as if "Leah" is trying to hold onto a sense of normalcy for as long as she can, savoring the minor pleasures of life that she knows she will never experience again. In fact, in the stunning final half hour of the film, as "Leah" roams around the streets of New York City trying to summon up the courage to fulfill her mission, she begins to cling more and more to the simple joys of life - a mustard-covered pretzel, a candy apple - before taking that final plunge into the abyss. What's particularly disturbing is how unfailingly sweet and polite "Leah" is to the people around her - be they the common pedestrians or storekeepers who could easily become her victims, or the masked men who calmly, almost apologetically, feed her instructions on what she is to do when the fateful moment arrives. The scene in which they dress "Leah" up in terrorist garb and methodically "direct" her for a video that will be released after her death is one of the most chilling in the entire film.Luisa Williams, who is never off camera for a single moment in the film, delivers an astonishing tour-de-force performance that is guaranteed to leave the audience stunned into silence. With very little in the way of dialogue to work with, Williams is forced to rely almost exclusively on facial expression and body language to convey a wealth of emotion. The incongruity between the character's sweet personality and demeanor and the horrific act of violence she is about to commit throws us completely off balance and makes us call into question our own perception of the world and the way it works.Loktey employs documentary-style realism to tell her story, using her camera to record, almost as a dispassionate observer, the events as they unfold in the course of that 48-hour period."Day Night Day Night" contains more nerve-wracking suspense than a boatload of standard thrillers, yet it is a suspense that is honestly earned, for Loktey never stoops to implausible timing or hokey contrivance to create her effect. This is the stuff of real life - with all its attendant unpredictability and ironies - unfolding before us. We are forever focused on this young lady, who remains a fascinating and terrifying enigma throughout the entire hour-and-a-half that we spend with her.Stated simply, "Day Night Day Night" is one of the most riveting and important releases of 2007.

Caught this at an art theater last night, and the crowd afterward was split about 50/50 as to how they received the film.One side admitted that the film was unique while avoiding any trace of pretentiousness and that Loktev was captivating. Still, these people felt that the film’s incredibly slow pace was too much to bear. I understand this sentiment, but I don't agree with it. Likewise, just about everyone thought the film was very creepy, and while this turned on many in the art-house crowd, it repelled nearly as many.Personally, I like creepy movies, and I thought the creepiness was magnified wonderfully by the slow pace. It felt like a snuff film combined with soft-core child porn combined with _The Passion of Joan of Arc_. Seriously, it was that creepy. And that added creepiness greatly to the suspense—I literally jumped a little bit out of my chair at one point, and I can only remember doing that a handful of times in my history of movie-going.Still, I don’t know whether or not the slow pace would hold up well to repeated viewings, and it's not like the pacing was perfect; shaving ten minutes overall probably would have helped. But I still think the film was effective and unique enough to deserve a high rating.