I just watched this slow plodding go nowhere film, it put me to sleep. Maybe I was expecting something else from this indie wonder, a plot perhaps, something more than one note acting perhaps. Matt Westmore set as the "hunk" comes off like a dull ghost on the screen. Eugenia Yuan is quite attractive and shows some emotion and depth but she is up against the wall with nothing and NOONE to work with here. Jacqueline Kim seems as though every other line is a throw away, she never gives us more than the words on the page of the script. Michael Idemoto shows some signs of something happening but it never comes.. and I mean never. How sad. Why such hype on this slooooooooow indie that goes nowhere not so fast and I mean that. Is this what we have to look foward to out of the indie scene, lets hope not. ONE BIG YAWN!!! Ugghh, it was so frustrating to watch this one, the female actors here come off like brats and the male actors dull wimps. Save the three bucks on this rental. Maybe we will one day see Yuan in something worthy of watching again like THREE.

Charlotte SOmetimes really hit the mark in terms of defining the relationship dynamics of this generation with honesty and realism. I was very impressed with the maturity and depth the cast and director brought into this film. It seems to me that with the sparse dialogue and emphasis on body langauge and position and cast and director really had to give a personal performance drawing from experience and so on. I loved the simple sets and uncomplicated camera work because it reminded me a lot of the recent Taiwanese movies I liked. There have been comparisons to In The Mood For Love, but I think the most apt comparison is to the New Wave Taiwanese auteurs and especially Tsai Ming-Liang. Just that and a personal resonance made me love this film. I don'tknow if being Asian has to do with anything, but I definately will recommend this to my crew.

I really enjoyed the film "Charlotte Sometimes"! Eric Byler's approach to film, keeping the actors real to life, is such a refreshing change. Thank you, Eric Byler for this breath of fresh air! I was drawn to the actors because parts of their experiences are easy for me to identify with in my life. I have a lot of respect for Eric Byler's decision to avoid stereotypes and common themes in movies that have been used continuously for the sake of gaining a quick audience reaction.Eric Byler made a HERO out of Michael Idemoto's character "Michael", an Asian male. Michael is looking for sex with connection and he holds out for a relationship that has connection before engaging in sex. Throughout the entire film, Lori, (Eugenia Yuan), an Asian female, knocks on Michael's door to cuddle with him after having "empty" sex with her boyfriend, Justin (Matt Westmore, a White male. Eric Byler clearly sends the audience a message about the value of sex and connection. During the last scene in the movie, Michael and Lori have come together as a couple, an Asian Male and an Asian Female- NOT the typical White Male and an Asian Female. Eric Byler has captured in subtle details the inner thoughts and feelings of the actors interactions in a manner that is honest and pure.Go Eric!!

The use of silence and conversations filled with silence is one of the strongest aspects of this surprisingly mature and interesting film. This dramatic triad has as much problem facing feelings as it does wants and desires. As the masks come off, we learn just how fragile and messed-up each one is, and how difficult it is for all three of them to reach out and communicate. Understatement and silence and powerful parts of this movie, and it all has a very asian feeling, even if their dilemmas are acculturated and familiar to non-asian americans. Though the son who gets stuck with the family business out of obligation and something like filial piety, struck me as very asian. The film also manages to convey a significant existential quality to the main characters that is very nuanced and requires contemplation.