We asked her about the most common ways people go wrong when saying "I love you" and how to avoid bungling the moment. How not to say.
I am so angry at this film that it will be very difficult for me to contain the harsh words that are ready to spew from my mouth. This will not be a review for young readers. I Love You, I Love You Not was an atrocity from beginning to end. From both the disgustingly poor editing, to the sloppy acting, all the way to the horrendous themes that seemed to plot two random events together this film screamed "After School Special". In fact, now that I think about it, "After School Special" would be too delicate of a summary, it instead felt like a eager undergraduate film student attempting to be smart by attempting to poorly summarize the Holocaust with the turmoil of being a high school student. Hopefully the professor of this assignment saw the project and properly gave it the "F" it deserved. Hollywood completely outdid itself on this doozy of a film. I am surprised that the Jewish community didn't find this film offensive in the way that it trivialized the events of the Holocaust and compared them to the social troubles of a High School girl. I was upset by this occurrence, and I am not even Jewish. After this short film viewing, I felt dirty, upset by the Hollywood community, and ready to shout obscenities at everyone involved with this project. I Love You, I Love You Not was just another Hollywood attempt to monopolize on Claire Danes' My So-Called Life popularity while trying to be overly symbolic by involving the Holocaust.
Is anyone else as sick as I am about this disgraceful marriage? I do not understand at all what director Billy Hopkins was attempting to convey with this film. The themes were muddled in a slew of choppy editing and horrid flashbacks that left my mind in a confused knot. In one instance we had Danes unwilling to spend time with her grandmother, while in the next instance she was opening up everything in her life to her, while in the next she was making out with the mirror, and suddenly in the next she was asking Moreau to tell her a nightmarish bedtime story involving Robert Sean Leonard. Wouldn't that give anyone nightmares? It did give everyone nightmares and preempts our next step into the randomly anti-Semitic High School in which Danes attends. Unlike other films that use the Holocaust to show the injustices of the world, like in School Ties, this film randomly interjects the anti-Semitic moments near the end as if only to help strengthen already dead climax. Like nearly every scene in this film, the supposed "high-points" come and go nearly as quickly as modern fashion, leaving the viewer with nothing at all. I walked away of this film with an embarrassed look. While there may have been some attempt at meaning behind Billy Hopkins' camera, what eventually was released was a childish attempt to combine the trivial life of a High School girl to that of the monumental disaster known as the Holocaust. Could you put these two together? A great director probably could, but Hopkins' could not. All that it seems that he wants to create are meaningless dramatic plot-holes coupled with beautiful people.
Which, ultimately, leads me to the acting. While "abhorrent" would be a light word summarizing the purely absent acting of Danes, Law, and Van Der Beek, it is the only one that I could think of. Danes, using the same character structure from My So-Called Life in this film, could not find her way out of a paper bag if she tried. I could hear Hopkins in the background saying, "Give me more Angela Chase, I hired you for Angela, I WANT ANGELA". Her character is all over the place, manic depressive in one moment, happy the next, chaotic throughout, pitiful entirely. I loved the fact that she was a "reader", but one of the most ignorant characters created. You would think that with all the books she would have learned from them, sputtering quotes throughout the film, but alas, that never happened. Again, we were left with only Angela Chase. Award winning Jeanne Moreau bounces of the non-existent acting of Danes by providing her own character which does not fit into this film. Obviously disturbed by her time in Auschwitz, Moreau never develops this. She allows Danes to walk all over her, creating a weak grandmother and a needy, spoiled granddaughter. Throw in "boy-toy" Jude Law only for looks (because his character was as transparent as Saran wrap) and you have the worst cast in cinema. Nobody did any work with their characters, but instead walked around the set happy to be earning some, if any, money for their roles. I am surprised that both Danes and Law were able to pull themselves out of the I Love You, I Love You Not rut.
Overall, this was a confusing film that was only proved worse by torrential acting, very ill cinematography, a hasty Hollywood story (very obviously created by the infamous recycle machine), and by combining a trivial moment in a teenager's life with the historical hardships of the Holocaust. That would be similar to me trivializing the horrible deaths on the beaches of Omaha with me not getting a date for my Senior Prom. That just is painful to hear and visually see. The acting was non-existent, but obvious ploys to get a younger audience to attempt to connect with the story. The direction was nauseating. The constant flicking between present day and past stories kept me dizzied for days afterwards. Then, there was the uproarious casting of Robert Sean Leonard, I couldn't help but laugh when I continually saw him on screen. The only actor worth mentioning in this film was Julia Stiles, but that was because she kept her mouth shut. This was a disaster from the beginning and should be forgotten by all!
Grade: * out of *****
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Audio, English. Purchase rights, Stream instantly Details. Format, Prime Video ( streaming online video). Devices, Available to watch on supported devices.
Documentary film-maker Erin Lee Carr specializes in locating the real story behind what would otherwise be clickbait: her feature debut Thought Crimes analyzed the so-called “cannibal cop” and found a guy at the mercy of his own narrative, while her follow-up Mommy Dead and Dearest captured the passion and obsession of the Dee Dee Blanchard case now popularized by the drama series The Act. So when most people looked at the account of Michelle Carter, a Massachusetts teen accused of hounding her boyfriend to a tragic suicide, they saw nothing more than scandal. Carr looked a little closer, however, and discovered a layered saga with the potential to speak volumes about the public beyond the courtroom.
“One of the things I enjoyed about this project – and I use the word ‘enjoyed’ carefully, because this is a film about suicide – it’s that there was a lot of societal reckoning,” Carr tells the Guardian over the phone, a few days before her latest effort I Love You, Now Die premieres on HBO. “This case covers so much: free speech, mental health, girlhood, boyhood. For me, it was in part about feminism, which speaks to how we view criminal cases involving women through a set of archetypes. There were so many angles through which we could explore this case.”
Carter had landed in the middle of a media frenzy when the shocking details of her relationship with the deceased came to light. Carter had spent a little over two years exchanging text messages and other online communiques with one Conrad Roy, a young man she had met while on vacation in Florida. Though they only lived a brief drive from one another back in New England, their interactions were limited almost solely to the realm of the digital, where the intense bond between them slowly soured. Carter began sending increasingly disturbing sentiments to Roy, eventually building up to exhortations for him to take his own life. When a distraught Roy sealed himself in his exhaust-filled car and stumbled out after having second thoughts, it was Carter that encouraged – commanded, some alleged – him to get back inside.
The case was literally unprecedented, a new standard-setter for manslaughter allegations with its assertion that a killing could be carried out secondhand via text message. Carr’s film crystallizes just how complex pulling off that legal gambit had to be to succeed, as counsel on both sides repeatedly defined and redefined the terms of Roy and Carter’s mental health. Their saga started to resemble an after-school special supercharged by technological connectivity. Carter herself invoked Romeo and Juliet in their texting; the comparison, in all its overcooked dramatics and rash action, was apt.
The citizens of the Commonwealth of Massachusetts saw red during the ensuing trial, placing the blame for Roy’s death squarely on Carter as an ice-cold manipulator. Carr wanted to take a more studied, nuanced approach to a subject she saw as wrestling with her own demons of loneliness and delusion. “At first I thought it was all inhuman,” the director admits. “I mean, who talks to another person like that? So there was an evolution for me, in my thinking. Being part of this story in a long-term way helped me come to understand what Michelle was dealing with.”
Carr wanted to give everyone involved with the litigation a fair shake, to show how Carter’s supposed predation could have been a function of her own instability. She had gone to the Bay State with the intention of producing an episode for a series she was planning at the time, but as she delved into the court documents and archival materials, she got a sense that she had struck on something bigger. She dedicated herself to learning everything she could about the sad tale of Carter and Roy, doing the journalistic legwork of conducting interviews and putting together quotes. But embedding herself in the scene, and gaining entry to the courtroom proceedings as the lone video presence, proved no simple feat.
“Access on this one was deeply difficult,” Carr remembers. “Nobody wanted to talk to some goon from Brooklyn. It was about us continually asking but not bothering people. In terms of the court system, I feel there was a lot of luck involved. They basically told us, ‘You know what? Uh, yeah, you guys can have your shot.’ We showed up the first day in court for opening statements, and if you’re the camera inside the courtroom, that means you have to be the pool camera providing footage for the news organizations. We had to make sure our footage was relayed back to all the news teams, and on day one, everything was malfunctioning.”
Carr laughs as she continues reminiscing about her time in these particular trenches: “The first day, the video feed wasn’t going through, and suddenly we’re the only ones standing between the news and their coverage of this crazy national case. People were losing their minds at us. They had jobs to do! They were like, ‘What the fuck is happening, who are these HBO people?’ I started to have a little meltdown. I turned to one guy, and asked what he thought the problem is, if he just had to take a guess. He says it could be any number of things, and I’m asking him to just take a wild guess as to what it could possibly be. He’s like, ‘I don’t know, an extension cord out of the converter?’ We changed out the cord during the next recess, and of course that was it. I’m not a religious person, but I prayed to whoever exists in the eternal in that moment and thanked them.”
Snafus notwithstanding, Carr got closer to the heart of the dark, confounding situation than anyone else. All the while, as she gained the locals’ trust and developed a personal connection to her material, she strove to remain mindful of her professional obligations. “You have to be objective as a journalist,” she says. “But here I am as a documentary film-maker, adding music to some scenes and editing others. You see the text messages when I want you to see the text messages … You need to remain unbiased when you’re reporting on a murder trial, and I don’t feel that’s something I’m naturally gifted at, nor do I do it on a daily basis. There’s conflict in that, everyone struggles with it. What I try to keep in mind is: what are the facts? What’s the evidence? Who are the key people involved, and how can I talk to them? That’s what I include in the piece. There’s no first-person, no voiceover.”
Her work searches for the truth along with a hard-fought decency, a belief that figures the mass media may vilify still contain a core of humanity. She sees this notion of empathy as a foundation of the true crime genre currently dominant in American culture, maybe even the secret ingredient that’s made it so recently ubiquitous. If the people would only look past the kneejerk rage that the Carter case inspires on first glance, they’d be wounded by the same pain that drew Carr to this sordid tale – a pain emanating from both sides, outward in every direction.
“True crime has a way of creating a visceral, physical reaction,” Carr firmly states. “There’s nothing like hearing about other people’s hurt. We’re herd animals, and we don’t want to see other people hurting. It’s like sports, with built-in stakes that you get invested in. This is a story about human beings, people also struggling with mental health issues will see it, and so we have to make sure to be compassionate while reporting on scandal.”
I Love You, Now Die starts on HBO on 9 July with a UK date yet to be confirmed
Five years ago, 18-year-old Conrad Roy committed suicide in his car in Fairhaven, Mass. Shortly after, police discovered a series of alarming text messages from his girlfriend, 17-year-old Michelle Carter, that seemed to encourage him to kill himself. A new documentary called I Love You, Now Die: The Commonwealth V. Michelle Carter will dig deep into the relationship between Carter and Ray, and examine the “deadly convergence of mental illness, loneliness, pop culture, and technology.”
The documentary premieres Tuesday, July 9, at 8 p.m. ET/PT on HBO. But if you don’t have cable or HBO, you can watch I Love You, Now Die live or on demand on your computer, phone, Roku, Amazon Fire TV, Apple TV or other streaming device via one of the following live-TV streaming services:
Amazon Prime’s HBO Channel
If you have Amazon Prime or want to start a free 30-day trial of Amazon Prime, you can watch live and on-demand HBO content here on the HBO Amazon Channel, which also comes with a free 7-day trial.
Once you’re signed up for both Amazon Prime and the HBO channel, you can then watch I Love You, Now Die live as it airs on your computer via the Amazon website, or on your phone (Android and iPhone compatible), tablet, Roku, Amazon Fire TV, Fire TV Stick, Apple TV, Xbox One, PlayStation 4 or another streaming device via the Amazon Video app.
If you don’t watch live, the Amazon HBO Channel also comes with HBO’s complete on-demand library, which will include I Love You, Now Die as soon as it first airs live.
Whether you already have Hulu or you want to sign up for a new subscription, HBO is available as an add-on to either Hulu or Hulu with Live TV.
Once signed up, you can watch I Love You, Now Die live as it airs on your computer via the Hulu website, or on your phone (Android and iPhone supported), tablet, Roku, Apple TV, Amazon Fire TV, Chromecast, Xbox One, PlayStation 4 (on-demand only), Nintendo Switch, Echo Show or other streaming device via the Hulu app.
If you don’t watch live, Hulu’s HBO channel also comes with HBO’s complete on-demand library, which will include I Love You, Now Die as soon as it first airs live.
Whether you already have PlayStation Vue or you want to start a free 5-day trial of PlayStation Vue, you can watch live and on-demand HBO content through the HBO add-on, which comes with a free 7-day trial.
Once signed up, you can watch I Love You, Now Die live as it airs on your computer via the PS Vue website, or on your phone (Android and iPhone supported), tablet, Roku, Amazon Fire TV, Apple TV, Chromecast, PlayStation (3 or 4), or other supported device via the PS Vue app.
If you don’t watch live, PS Vue’s HBO channel also comes with HBO’s complete on-demand library, which will include I Love You, Now Die as soon as it first airs live.
In July 2014, 18-year-old Conrad Roy died by suicide in his car at a parking lot in Fairhaven, Mass. A series of alarming text messages from his girlfriend, 17-year-old Michelle Carter, was found by police that seemed to encourage him to kill himself. Although Roy and Carter lived hours away from each other and only met in person no more than five times, the couple exchanged thousands of texts over a two-year period. The story ended up making headlines nationwide, leading to a trial that raised difficult questions about technology, social media, and mental health, while raising the question of whether one person can be held responsible for another’s suicide. HBO’s new documentary, I Love You, Now Die: The Commonwealth V. Michelle Carter investigates the relationship between the two and the culpability of someone who urged another to kill himself, even after text messages proved he had second thoughts.
Directed by Erin Lee Carr (HBO’s At the Heart of Gold: Inside the USA Gymnastics Scandal and Mommy Dead and Dearest) I Love You, Now Die “explores the complicated relationship between Carter and Roy, drawing on some of the thousands of texts they exchanged over two years to chronicle their courtship and its tragic consequences,” according to the network. The film features interviews with the families, friends, and communities that were shocked by the unusual case, and examines the changing nature of the justice system today. The film presents a well-rounded look at a bizarre tale that was “a deadly convergence of mental illness, loneliness, pop culture, and technology,” and discusses the bigger-picture implications the case has for society, both in real life and online.
I Love You, Now Die includes footage from Carter’s trial; the filmmakers had the only camera allowed in court for this oddly unique case. Other interviews include Joseph Cataldo, Michelle Carter’s defense attorney; Dr. Peter Breggin, an expert witness for the defense; police detectives; and journalists who covered the case extensively.
The documentary premiered at this year’s South by Southwest Film Festival. “Part 1: The Prosecution” premieres tonight at 8 p.m. while “Part 2: The Defense” premieres Wednesday, July 10 also at 8 p.m.
To help get the words flowing, read these 52 ultra romantic movie lines, To find someone who will love you for no reason, and to shower that.
29 April 2019, 17:42 | Updated: 8 August 2019, 12:44
Avengers: Endgame has birthed the 'I love you 3000' meme and it's legendary...
WARNING: THIS ARTICLE CONTAINS HUGE AVENGERS: ENDGAME SPOILERS.
Avengers: Endgame is responsible for the 'I love you 3000' meme and its meaning will ruin you.
Avengers: Endgame: Who dies, who lives and who will star in another Marvel film?
It is finally here. After months of waiting, Marvel have released Avengers: Endgame and fans are living for it. From the brilliant memes to the heartbreaking deaths, the entire world can't stop talking about Endgame and it's easy to see why. It's moving, it's hilarious and it's epic in every sense of the word. Not only that but it's also responsible for the brilliant 'I love you 3000' and the meaning behind it will bring you to tears. Just Google: "How much is a ton?"
Okay. Spoilers ahoy.
Fans will already know that 'I love you 3000' is a line in Avengers: Endgame. After the events of Infinity War, all the remaining Avengers are at a loss as to how to bring back everyone who died in the snap. As a result, Tony Stark (Iron-Man) settles into home life with Pepper and together they have a daughter, Morgan. During one scene, Tony puts Morgan to bed and says "I love you tons". She replies "I love you 3000".
The entire scene is adorable and sweet but it is made gut-wrenchingly painful by the fact that Tony sacrifices himself later in the film to kill Thanos and save the universe. After Tony's funeral, Pepper plays a video message that Tony filmed before he and the Avengers used the time travel machine. The video was to be played in case of Tony's death, and in it he turns to Morgan and says: "I love you 3000".
Morgan (Lexi Rabe) then holds back her tears and it is literally the saddest scene in the history of the MCU. Understandably, it has led to a meme in which fans reference either Endgame and the scenes that inspired it or things which they hold dearest... and love... 3000. With that in mind, we've gathered together a few of the best 'I love you 3000' memes that Avengers: Endgame has inspired.
Tony was literally training Morgan to be his successor. I'm crying.
BRING HIM BACK MARVEL YOU MONSTERS?!!
Petition to sue Marvel for universal emotional damage first.
Look. It's important.
Children are precious and must be protected at all costs.
I can never eat a cheeseburger in the same way again.
If you know, you know.
BRB. Crying for eternity.
I was confused and I forgot even you told me twice. -Thursday. -Thank you and good night, God to watch you always. I love you, don't forget! After a few days you told me you were feeling better and at the weekend we had a chat online.