The characters in this movie should be arrested for loitering with intent to moan. Never have teenagers been in greater need of a jump-start. Granted some of them are more than 100 years old, but still: their charisma is by Madame Tussaud. The Twilight Saga: New Moon takes the tepid achievement of Twilight (2008), guts it, and leaves it for undead. You know you're in trouble with a sequel when the word of mouth advises you to see the first movie twice instead. Obviously the characters all have. Long opening stretches of this film make utterly no sense unless you walk in knowing the first film, and hopefully both Stephanie Meyer novels, by heart. Edward and Bella spend murky moments glowering at each other and thinking, So, here we are again.
Roger EbertRelated topics
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These days too many children's movies are infected by the virus of Winning, as if kids are nothing more than underage pro athletes, and the values of Vince Lombardi prevail: It's not how you play the game, but whether you win or lose. This is a movie that breaks with that tradition, that allows its kids to be kids, that shows them in the insular world of imagination and dreaming that children create entirely apart from adult domains and values. There was a moment in the film when Rodriguez hit a line drive directly at the pitcher's mound, and I ducked and held up my mitt, and then I realized I didn't have a mitt, and it was then I also realized how completely this movie had seduced me with its memories of what really matters when you are 12.
Roger Ebert
In 1957, James Vicary, a market researcher, conducted a six week test in a New Jersey movie theatre. A high-speed projector repeatedly and subliminally flashed the slogans ‘drink Coke' and ‘eat popcorn' over the film. I thought I'd make my own cinema ad to try something similar. According to Vicary, popcorn sales went up by 57.5% and Coke sales by 18.1%... Whether Vicary's results were due to the subliminals can never be shown and the experiment has become shrouded in urban myth. This is the Genesis Cinema in East London, which kindly agreed to include our ad amongst the trailers for a screening of Ocean's Twelve, a carefully chosen film which, if the ad works, the audience will not be able to remember. Not a bad thing.
Derren Brown
All dreads other than reverent dread that are proffered to us, though they come under the colour of holiness yet are not so true, and hereby may they be known asunder. - That dread that maketh us hastily to flee from all that is not good and fall into our Lord's breast, as the Child into the Mother's bosom, with all our intent and with all our mind, knowing our feebleness and our great need, knowing His everlasting goodness and His blissful love, only seeking to Him for salvation, cleaving to with sure trust: that dread that bringeth us into this working, it is natural, gracious, good and true. And all that is contrary to this, either it is wrong, or it is mingled with wrong. Then is this the remedy, to know them both and refuse the wrong.
Julian of Norwich
It was the normal working of the antisuccess mechanism. In our overcrowded modern world a hit record, a best-selling book, a successful film, can reach more people in a week than Shakespeare or Beethoven reached in a whole lifetime. And so fame has become the most romantic, the most desirable of all commodities, the dream for which a modern Faust might sell his soul to the Devil. Once attained, fame is never as easy to hold on to as some people believe. The people who achieve fame by some accident of fashion are usually forgotten within a week; the ones who remain on top have to work to stay there. But few people understand this. The result is that anyone who achieves sudden notoriety arouses envy and hostility. The greater the success, the greater the reaction.
Colin Wilson
I think I made essentially a mistake in staying in movies but it's a mistake I can't regret because it's like saying I shouldn't have stayed married to that woman but I did because I love her. I would have been more successful if I hadn't been married to her, you know. I would have been more successful if I'd left movies immediately, stayed in the theatre, gone into politics, written, anything. I've wasted a greater part of my life looking for money and trying to get along, trying to make my work from this terribly expensive paintbox which is a movie. And I've spent too much energy on things that have nothing to do with making a movie. It's about two percent movie-making and ninety-eight percent hustling. It's no way to spend a life.
Orson Welles