Like Crazy 2011 123movies

Watch: Like Crazy 2011 123movies, Full Movie Online – Anna and Jacob fall instantly in love when they meet as students at an L.A. university. But Anna is British and when graduation approaches, Anna decides to stay and violate her student visa rather than returning to England. After a visit home, she is then unable to return to the United States. While fighting customs and immigration battles, Anna and Jacob must decide if their relationship is worth the distance and the hardship..
Plot: A British college student falls for an American student, only to be separated from him when she’s banned from the U.S. after overstaying her visa.
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Ratings:

	6.6/10 Votes: 62,005
	72% | RottenTomatoes
	68/100 | MetaCritic
	N/A Votes: 943 Popularity: 10.967 | TMDB

Reviews:

A Heartfelt and Absorbing Love Story
Just saw it at the Sundance Film Festival here in Park City, Utah.’Like Crazy’ is a love story about the ups and the downs, the euphoria, the heartache, and the sacrifices. For those who don’t know the plot, basically a British student, Anna, falls for Jacob, an American student. They fall for each other right away, and spend the summer together. However, she violates the stay of her student visa, and when she tries to return to L.A., she is denied. Thus, our two lovers are separated by distance and multiple levels of bureaucracy that prove to be most unfair. Can they make it work, and should they? Some have compared it to ‘500 Days of Summer,’ and there are a few similarities. The major difference is the lack of any unique narrative devices and that it is, in fact, a love story. First and foremost, let me say that Felicity Jones as Anna is a revelation. She owns the screen and was utterly charming and devastatingly beautiful. There’s a scene in the first 10 minutes after they spend their first evening together, and they sit on her bed, and a sense of tension but young awkwardness that fills the room. When the conversation falters out, she gives him a look that was filled with such delicate longing; fueled by the power of young love and the possibilities before them. It was in this moment that Anna, and Felicity, won me over. The chemistry between her and her co-star Anton was realistic and powerful. Much of the film was improvised; the director said he would often leave the camera rolling for twenty to thirty minutes at a time just to capture them together. It shows. I felt myself hoping and wishing for them to work it all out, to end up together.

The music is fantastic. It provides the heartbeat to the film and is a wonderful compliment. It’s well edited – the film ultimately takes place over what seems to be a couple of years. Unlike early versions of the film, title cards have been removed and a series of jump cuts progresses the time. You have to pay close attention at times to have a firm grasp on the passage of time. There are moments when they are happy and together that are so iconic. Walking the streets of London, at times they looked like the cover of a Bob Dylan cover. Quick cuts of them together whether in LA or London are quite beautiful.

This film was obviously made based on real experiences, and the filmmakers admitted that it was the combination of many of their experiences. It’s a realistic film. Things aren’t easy. You will smile and laugh and other times feel just as much despair as our characters. There are no easy answers in this film, and your ultimate interpretation and perhaps enjoyment of the film depends on what you bring to the table, and your feelings on love, and just how much you believe in it. This film should make Felicity Jones a star in the way that ‘An Education’ benefited Carey Mulligan.

I feel like I’m on vacation.
The first half an hour or so of Like Crazy is like a romantic comedy on fast forward. Forget establishing characterisation or backstory or context for these two love-struck youths; the story jumps from chapter overview to chapter overview, showing us defining moments and skimming past the boring stuff. She is a foreign exchange student (but just from Britain to America, so not that kind of exotic love story) who leaves him a rambling, heartfelt letter pouring out her emotions, and because it is a movie and they are both attractive they hit it off immediately. But because we have not been given any insight or opportunity to get to know Anna or Jacob, it seems premature to ask us to invest into their passionate love affair, or any other conflict afterwards. When we revisit these moments near the end, they don’t have the emotional power they are supposed to have.

The editing betrays this approach at every step. It is almost frightened of any long, pregnant pauses that are not moving the plot forward. When Anna and Jacob go on their first date, it continually jumps from location to location, skipping past any banal small talk or god forbid, awkward silence. It aims to streamline and instead gives the pair no breathing room to develop any individual chemistry, any unique traits or mannerisms that make them more than just the simple archetypes they are. And when she makes the critical decision to stay behind for the summer and spend it with him, we aren’t even shown the positive outcomes of this, but merely a time-lapse of them in different positions and clothes laying in bed. A neat trick, but it makes it very difficult to buy their pain when they are separated.

It is such a shame because both Yelchin and Jones shown signs of potential to lift the material beyond its capabilities. But the cuts continually deny them the chance to hold onto a moment longer than a few seconds, to act and let their characters express themselves. When they jump into bed together after the first long absence, it should be such a passionate and heartfelt reunion, undercut by questions of loyalty and infidelity. But what could have been achieved with one take is chopped up by no less than six cuts, so the impression is that the scene is trying to rush through the latter to get to the former, and ends up dulling the intensity of both. Now compare that to the very next scene, where Anna’s toaster is returned. By simply holding the take and panning away from the conversation and giggles to Jacob’s crestfallen face, a much stronger feeling of doubt and insecurity is implied.

But the film struggles to fully develop a sense of time, and as a result this theme is handled clumsily. Jacob questions Anna on her attraction to other people, and is also questioning the relationship as a whole. But a mere two scenes later, Samantha pops up almost out of nowhere, and begins a new relationship with him. We are supposed to accept that enough time has passed that the emotional scars of their mutual breakup have healed and this faceless new girl is worthy of his and our time. And then, like clockwork, that also is tossed aside. None of these developments stem from any natural or sequential reactions that real people experience. When a happily married couple go from giggling arm in arm to walking ten steps apart from each other in the blink of an eye, all it reveals is that the script demanded it. Spare a though for Simon and Samantha, who have their lives and emotions toyed with because of the leading pair’s little game. At the beginning, I could not answer what mysterious, inescapable force pulled these two together, and by the end I still could not. Is it Paul Simon? It’s glaringly obvious that most of the dialogue has been improvised.

Other Information:

Original Language en
Runtime 1 hr 26 min (86 min)
Budget 250000
Revenue 3542353
Status Released
Rated PG-13
Genre Drama, Romance
Director Drake Doremus
Writer Drake Doremus, Ben York Jones
Actors Felicity Jones, Anton Yelchin, Jennifer Lawrence
Country United States
Awards 9 wins & 7 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, Datasat, SDDS
Aspect Ratio 1.78 : 1
Camera Canon EOS 7D, Zeiss Ultra Prime Lenses
Laboratory DeLuxe, Hollywood DI, West Hollywood (CA), USA (finishing services)
Film Length 2,466 m (5 reels)
Negative Format Video (HD)
Cinematographic Process Canon H264 (1080p/24) (source format), Digital Intermediate (2K) (master format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema