My expectations from this movies decreased as I watched through it. This is one of the movies which tries hard to be on the artistic side of this industry. However it fell short to its intentions. There are many positive elements in the movie. Acting is great. Music and cinematography are almost perfect. On the other hand, the sum of all these good things does not resulted in a great movie. Holy motors could be entertaining. This is true only if you are not expecting any well made story as its backbone. I don't see any story in this movie. Its only an Idea going on forever. There is no connection between the elements expect the common theme of actor in the car moving around, doing his "Appointments". Nothing is going to get out of his appointments and they simply don't make sense.You may start to think and try to find a meaning in this movie. And it is possible to find meaning when you try hard about anything. Holy motors reminds me of Holy mountain by Jodorowski. However there is a difference. Holy mountain is about the absurdness. Holy motors is absurd. Few philosophical ideas or intellectual dialogs which are sprinkled in the movie could not help to make it any better. Lack of harmony is the main deficiency of the Holy motors. It seems that the director just liked some cinematic ideas and used them wherever he felt good about it. In this movie you witness some musical scenes, a little bit of horror, some eroticism, a little bit of sci-fi and in the end you are left to deal with a fantastic talk between the holy cars. And it is not a comedy. If it was a comedy then many of these elements could fit together. Unfortunately, the movies portrays an ever-increasing melancholic state with a solid color of seriousness.In the end I should mention some positive factors that make it a watchable movie. Denis Lavant's acting is great. His performance as an actor is at its best. You see him change roles as easy as changing clothes. He is the one who saves this movie in the end.

Holy Motors (2012)A bizarre (and highly praised) film that is ambitious and inventive to the point of pain. I wish it was as brilliant as it intends. As we follow the leading character Oscar through a series of seemingly unconnected events, it struck me that the goal is simply to stage these odd moments, almost choreographed surreal adventures where he takes on different personae (with elaborate costumes). The events don't achieve what you might call depth or meaning. They are interesting—how could they fail on that score?—yet interesting turns out to be not enough.Still, look for high style throughout, some terrific underworld insanity, some unfiltered sex and violence, and lots and lots of pretense. I have a feeling there are some people who might rate this among their favorite films and so I'd say give this a try. It might take half an hour to know whether the changing roles and scenes (and the self-indulgence) will keep you sustained.Since Oscar is shuttled from one location to another in a stretch limo, you get the feeling he might just be a filthy rich eccentric who refuses to be bored with life. He admits he started doing this (every day, we get the sense) for "the beauty of the act," and this high level of aesthetic tension seems insufficient for the depravity involved.This is a French-German enterprise, set in Paris. It has enough quiet moments to make you impatient, but from the pause it will take off on another romp. The actor has to be admired, for sure—Denis Levant, known for his boundary pushing roles (from Shakespeare to experimental film). The director, Leos Carax is likewise associated with the avant garde —and with Levant. But they have tried to keep their grand experiment traditionally cinematic, as well, so there are lots of ways to appreciate what's going on. The filming is sublime, the ambiance from lighting to set design is gorgeous.There is that dangerous point in a art when a work gets so serious it demands of itself a kind of perfect to succeed. And there are so many little holes here, even some odd moments in the acting, it becomes almost laughable. At times. Which is too bad. There is a lot here to take quite seriously, I think. Then again, maybe it's meant to be an absurdist dark comedy all the way. Which means we're allow to laugh after all. Go for it.

Beautiful film, with an arresting performance by Denis Lavant and a bizarre cameo by Kylie Minogue, who seems to have developed quite a belter of a voice over the years.Reminded me a little of David Lynch at times - a filmmaker who's not concerned with plot or meaning so much as presenting images he finds interesting.Anyway, if you're interested in VISUALS, cinematography, dry European humour and whatnot, definitely put this on your list. Verdict: Don't try and make sense of it: just enjoy this sumptuous filmmaking.yetanotherfilmreviewblog.tumblr.com

Leos Carax comes back after a 13 year hiatus to present us with a beautifully weird, absurdist film, which is both 'a tribute to cinema' as well as 'an ode to film (celluloid)'. It doesn't have a linear story or much of a plot, and doesn't make much sense in its entirety. But there's something oddly delightful about it, and keeps you intrigued till the very end. It is unlike anything one has seen before. There are various film references in the movie which would keep cinephiles amazed.Shakespeare says, "All the world's a stage, and all the men and women merely players; they have their exits and their entrances, and one man in his time plays many parts." This movie is like a literal adaptation of that text; it follows an actor named Mr. Oscar, who dons one role after the other, in actual settings, in front of seemingly invisible cameras. It compares an actor's roles to real-life roles, and the themes tackled are similar too - love, sex, despair, death, etc. And in his journey, we also come across various genres of films. What does it mean to be an actor? How is it costing one? Till what does one have to go to make it feel authentic? These are just few of the questions it makes us wonder. And other than the screenplay, it's the brilliant performance of talented actor Denis Lavant that makes us wonder that. All the sequences have something to offer; they move you, make you laugh, or make you think.Few notable film references: - 'Mon Oncle' (the interior of first house) - 'Lovers on the Bridge' (Beggar sequence, La Samaritaine) - 'Mauvais Sang' (motion-capture sequence with red & white lines scrolling in the background) - 'Tokyo!' (the pseudo-leprechaun Merde; he also eats sushi before performing it) - monster movies like 'King Kong' and 'Godzilla' (Merde picking up the model; the original score from 'Godzilla') - 'Underground' (Accordion scene) - 'Breathless' (The name 'Jean', as in Jean Seberg, Kylie Minogue's hairstyle, the mention about lost baby, suicidal tendency) - 'The Umbrellas of Cherbourg' (Kylie's singing sequence) - 'Cremaster 5' (Kylie's dive backwards from the building) - 'Max Mon Amour' (being married to monkey) - 'Eyes Without a Face' (the same actress, the same mask), which is both 'a tribute to cinema' as well as 'an ode to film (celluloid)'. It doesn't have a linear story or much of a plot, and doesn't make much sense in its entirety. But there's something oddly delightful about it, and keeps you intrigued till the very end. It is unlike anything one has seen before. There are various film references in the movie which would keep cinephiles amazed.