pulling the feels…
pulling the feels…
FLICKFEEL
57
from 50 comments
COMMUNITY
—
nobody yet
YOURS
—
…
FUN
1
how good a time it was
MEANINGFUL
58
how much it moved you
Two separate readings, not parts of the score — the score says how much of it held you, these say what kind of watch it was.
Nobody has rated this on FlickFeel yet. This is public discussion of this title, read into a curve. It is not a rating and it never becomes one.
Read from 50 comments (49 from Metacritic, 1 from TMDB reviews) — 31 of them described how it moves.
〰️ uneven — Peaks and dips, no clear shape. Hard going most of the way through. In the last stretch it was tender and painful at the same time, which is the state people mean by being moved. Very little of it ever resolves. Marked above the line: 1 that gave people chills.
Hover the curveDrag across the curve to see what people said at any point.
“after a beautifully photographed and scored series of images of real planets colliding, we are presented with a loved-up couple "Justine" (Kirsten Dunst) and "Michael" (Alexander Skarsgård) stuck in an eighty-foot white limousine trying to navigate some country lanes to get to their own wedding. Arriving, eventually, on foot and very late we proceed to enjoy a brief speech from her mother "Gaby" (Charlotte Rampling) who declares that she has no time for marriage at all - a state of affairs largely arrived at due to some fairly irreconcilable differences with ex-husband "John" (Kiefer Sutherland). That does rather set the scene for an at times extremely potent look at just how depression sets in, takes hold and rules ruthlessly the lives of those it touches.”
CinemaSerf · TMDB reviews ↗
“Seeing the vivid, painterly opening sequences”
famfacat · Metacritic ↗
“Deux heures de prétention, de vacuité et de non-sens : épouvantable d’ennui et de nullité archi nulle à chier !!”
Broyax · Metacritic ↗
“the second half was masterful and resonated in much more than Justine's part”
AJ_13 · Metacritic ↗
“the first impression I got from the initial sequence, before the title appears on screen, was that it looked very much like a Terrence Malick film - quite arty, lacking in dialogue and distinctly disorientating but also somehow rather mesmerising”
DawdlingPoet · Metacritic ↗
“the last scene alone is a masterpiece of beauty”
NickTheCritick · Metacritic ↗
Read 28 Aug 2026 · confidence 100% · scored on the same 0-100 scale as a community score · how this works
Published reviews, not felt experience — a different question from the one above, and never mixed into the FlickFeel score.
It reviews better than it plays — admired more than it is enjoyed.
“Von Trier is a burr under the hide for many viewers, and the unconverted won't be convinced. But it's audacious, beautiful, tactful filmmaking and perhaps the perfect match for "The Tree Of Life" on a bipolar double bill.”
Kim Newman, Empire · 100
“A movie masterpiece...is Lars von Trier's ecstatic magnum opus on the themes of depression, cataclysm, and the way the world might end.”
Lisa Schwarzbaum, Entertainment Weekly · 100
“For all the tyrannical disdain he's shown other filmmakers over the years, von Trier once again demonstrates a mastery of classical technique, extracting incredibly strong performances from his cast while serving up a sturdy blend of fly-on-the-wall naturalism and jaw-dropping visual effects.”
Peter Debruge, Variety · 100
“Melancholia hovers in ambiguity with riveting aesthetic prowess.”
Eric Kohn, IndieWire · 100
“Von Trier's latest fable is nothing without its blaze of majesty - or, as his detractors would say, its bombast.”
Anthony Lane, The New Yorker · 100
Scores from Metacritic and Rotten Tomatoes, read 28 Aug 2026. Quotes belong to their publications and link to the full reviews.
it reviews better than it plays — critics 81, the watch 57
Grouped by where it was written, because a considered review and a reaction typed an hour after the credits are different things. Every quote links to its source.
“Seeing the vivid, painterly opening sequences”
famfacatabout 0–15% inread it ↗
“Deux heures de prétention, de vacuité et de non-sens : épouvantable d’ennui et de nullité archi nulle à chier !!”
Broyaxabout 0–100% inread it ↗
“the second half was masterful and resonated in much more than Justine's part”
AJ_13about 50–100% inread it ↗
“the first impression I got from the initial sequence, before the title appears on screen, was that it looked very much like a Terrence Malick film - quite arty, lacking in dialogue and distinctly disorientating but also somehow rather mesmerising”
DawdlingPoetabout 0–10% inread it ↗
“after a beautifully photographed and scored series of images of real planets colliding, we are presented with a loved-up couple "Justine" (Kirsten Dunst) and "Michael" (Alexander Skarsgård) stuck in an eighty-foot white limousine trying to navigate some country lanes to get to their own wedding. Arriving, eventually, on foot and very late we proceed to enjoy a brief speech from her mother "Gaby" (Charlotte Rampling) who declares that she has no time for marriage at all - a state of affairs largely arrived at due to some fairly irreconcilable differences with ex-husband "John" (Kiefer Sutherland). That does rather set the scene for an at times extremely potent look at just how depression sets in, takes hold and rules ruthlessly the lives of those it touches.”
CinemaSerfabout 0–15% inread it ↗
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