A story that's too fascinating to pass by...

The film never slows down or bores, plunging from one harrowing sequence to the next.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

I really liked this quiet yet powerful indie, which I thought was extremely well acted, written, and directed.Riley Keough and Jena Malone give superb performances in their lead roles here. Keough portrays Sarah who's in an unhappy marriage with a workaholic husband, while devoting herself to her young daughter Jessie. Malone plays Mindy who is Sarah's best friend but which eventually develops into a sexual relationship between the two. The chemistry between Sarah and Mindy works exceedingly well throughout the movie, despite the fact that they are conflicted about committing to each other, and thus continue in their daily lives without doing so. Even years later, when Mindy is set to be married the powerful erotic and spiritual connection between the two continues.Overall, this is one of those films that caught me by surprise and if you like quiet indies that really grab you and are filled with realism, then this one may very well be to your liking. To note, there are several raw and explicit conversational scenes for those that are concerned about this in a movie.Korean-American filmmaker So Yong Kim ably handles the direction here, and co-wrote the script with her husband Bradley Rust Gray.

Two vapid and thin leads with barely a shred of an adult conversation between them. Natural visual and editorial style aside, over the few years this story takes place, there's nothing here that teenage friends wouldn't exchange in half a lunchtime. Young teens at that.The lead character whines about having to look after her own child while being in the privileged position of not having to work. Sarah could take up study or indeed get a job and put her shockingly fed daughter into daycare, where hopefully the child receives some decent parenting. And one wholesome meal. Rather than take any sort of ownership over her life, Sarah bleats and cries. Victim-hood mentality. Woe is me. The actors do a competent job. Rosanna Arquette shamefully wasted here too. It's really the fault of the director, writers and producers.Superficial, whiny, self-involved, navel gazing, entitled, immature characters, without any redeeming qualities other than they look good. Perhaps we should be thankful they didn't talk more as they had nothing worthwhile to say anyway. Too long, even at eighty minutes. Tedious.

Lovesong is an intimate relationship drama, lovingly told, the kind of indie that hangs not on the script or dialogue, but on the beauty of the images and the mostly silent performances of its leads. And while the story is intriguing and the actors good, it never really rises up to become something memorable. Lovesong is, true to its title, a bittersweet love story about two best friends, Sarah and Mindy. Sarah married young and now finds herself isolated as a single mother who only has a toddler to talk to, her husband travelling around the world. She calls her friend Mindy who immediately, like a breath of fresh air, arrives to reassure her, tell her that she's a good mom and to urge her to have fun. The two friends along with Sarah's daughter go an impromptu road trip. But while discussing their past some tension comes up and the two end up pushing their relationship into a more romantic capacity. Things go a bit awry and the movie picks up three years later just as Sarah's relationship is dissolving and Mindy is about to get married. Writer/director So Yong Kim keeps things simple and naturalistic for her leading ladies (no makeup and a distinct lack of over the top reactions). The two main actresses Jena Malone and Riley Keough both work with her very well. But while the two have a soft chemistry that suits the style of the movie it isn't the kind of burning passion that would have made this film really stand out. And everything feels too subtle, too subdued. I liked this movie well enough while I was watching, but I also have the distinct feeling that it won't exactly stick in my mind. Still worth watching.

I saw a screening of "Lovesong" at Sundance. When someone sees a film at the biggest film festival in the world, there are involuntary expectations that the film should be something extraordinary.During the screening, this film made me uncomfortable, disappointed, and even angry. The main characters were so unlikable and uninteresting that I couldn't find any moments of enjoyment. Their dialogue was about as complex as a patch of dirt, and their delivery didn't help. Nearly everything about the film felt as amateur as could be. The end of the film was much better than the dreadful beginning. Some interesting characters emerged and some more advanced forms of comedy were introduced. It wasn't until hours after that I started to think that the film could've been purposefully horrible. I couldn't fathom that a female director could make such shallow female characters. The film reminded me heavily of "The Comedy". "The Comedy" is about an unlikable man, or boy if you will, that embraces his "hipster" lifestyle and anti-everything attitude even into his late 30's/early 40's. The movie wasn't enjoyable to a large portion of its viewers. I loved it, but I can understand why. It made fun of a huge population "hipsters" very subtly, masking it's insults inside of unlikable characters. "Lovesong" is appearing to do the same thing, except the joke is on unintelligent women and loneliness that turns into lesbian relationships. "Lovesong" may be the worst worst film, or the best worst film. It just depends on if this film is a legitimate drama, or one of the best played jokes since "The Comedy".