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  • Warning: Spoilers
    How can any review rightfully describe Call Me By Your Name? I had the immense privilege of seeing it at Sundance before 99.99% of the world, so now I am one of the select few in charge of p(r)eaching the gospel that is Call Me By Your Name. This film is simply a masterpiece, possibly the best romance film of all time, and one of the best films of all time as well.

    The plot is basic, but it is how the story is told through the actors, the imagery, and the music where the film shines. The son of an academic (Elio, played by Timothee Chalamet) falls in love, perhaps hopelessly, with a visiting student (Oliver, played by Armie Hammer) who is staying with his family "somewhere in northern Italy." Almost all reviewers will describe it as a gay romance, some will say it's just about two people falling in love (and they will get criticized for trying to downplay the sexuality of the characters), but at its core it is about two people who fall in love with one another but have difficulty realizing that the other feels the same way. It is a universal film about love, sensuality, longing, and being true to oneself.

    While most romance films are unrealistic, melodramatic, or otherwise uninspired, Call Me By Your Name is anything but. The first hour is tension-filled with innuendo in the actions between the main characters and the other people in the story that realistically captures the delicate dance involved in flirting. The passion that develops is palpable, with some of the best love scenes to grace the cinema - complete with the awkwardness involved. The ending may be predictable, but how everything plays out is a masterclass of film-making.

    The final monologue between father and son towards the end will be the highlight for most people. Michael Stahlbarg gives a breathtaking performance as he calmly provides his son comfort, but most importantly, acceptance. However, the emotional peak of the film truly comes at its end, with a haunting final shot that will stay with me forever. Timothee Chalamet is a revelation and is destined to become one of modern cinema's finest actors. Armie Hammer finally has a role that allows him to shine. While many will be surprised at the casting on paper, it is a testament to the actors that you can truly feel the passion between their characters so much that the pairing feels like destiny.

    Call Me By Your Name is a moving film that stays with you, leaving a dark depression for days that arises not from what happens in the movie, but how it is shown. It is so beautiful, but heart-wrenching at the same time, that it reminds us how amazing life is despite that our desires are not always, if ever, truly fulfilled. The film teaches the viewer important life lessons that have already deeply impacted me as a person and how I intend to live my life. The central question it asks is best summarized through a question asked by a character in the film: "Is it better to speak, or to die?" After the film, one can only leave with one logical conclusion: To speak, because to die, is to die without ever knowing the answer. And for Elio, regardless of how the relationship ends up (see the film!), at least he knows the answer.
  • Beauty in the midst of all the ugliness we're living in, it's like a shock. I wept like I hadn't wept in a movie since I was very young. It made me think and remember summers of my own life. It made remember sounds and smells. I was transported. The smartness, candor and gentleness of this unexpected love story goes beyond anything I've ever seen. Luca Guadagnino is rapidly becoming one my favorite directors working today. Armie Hammer completely demolished my preconceptions with a performance that is total perfection and I haven't mention Timothee Chalamet yet. No I need to dedicate the lasts paragraphs to him because his performance goes beyond perfection. I didn't know him at all. Now I' a fan. It reminded me of the first time I saw Daniel Day Lewis playing a gay punk in "My Beautiful Launderette" An explosion of beauty when you least expected. Thank you for that.
  • Warning: Spoilers
    If you've read the book, you will not be disappointed. If you've not read the book, you must. They fit together as a beautiful work together. Companions in art. One without the other, and you just aren't as fulfilled. I cannot wait to reread the book.

    Timothée's performance is one for the history books. The Adele Excharpolous à la Blue is the Warmest Color of the year. His eyes are so expressive and every emotion and action is so deeply felt by this poor tortured soul that by the ending you cannot help but weep and feel at the absolute lowest you've ever been.

    Armie is portrayed to perfection, as well. His "later" and other phrases stand out so sharply in a world of prompt and prim dialect that it makes us feel engaged in a way that I've never felt by a movie. He was such an outsider and yet we were assimilating to his was as opposed to the way it should be. He, a guest, in Italy, for 6 weeks, leaves just as American as the day he arrived.

    Luca's obsession with men dancing and swimming pools and beautifully choreographed sex, is perfect for this story. I cannot think of a better match. Luca said in the Q&A afterward that he decided to change a few things from the book because not everything written in prose works on screen in a cinematic way, and if you've read the book, you will agree. He also said the author, who makes a small cameo in the film, thinks Luca's changes are better than the original form. So, that's affirming.

    Peach scene? Devastating. Sufjan's new songs? Devastating.

    This was a very sad movie but I loved every second. Let's hope Suspiria is even better. Luca G. might be the most exciting director working today. It was a privilege to watch this with him and the amazing cast and crew INCLUDING Sufjan. I hope Sony Pictures Classics doesn't mess up the distribution/awards campaign. This deserves praise.

    Also, 10/10 opening credits/font. Luca can do no wrong.
  • Call Me By Your Name is the kind of movie that makes you sit through the credits with tears rolling down your face, staring blankly at the screen with a lump in your throat and tightness in your chest.

    Call Me By Your Name is not a tragic movie. It's not a sad movie. It's not a pretentious movie. It's a movie about love, and love, and love. A beautiful love that will leave you longing to find your own love and drown in it.

    Timothée Chalamet is an absolute force of nature. Elio will make you want to love, and hurt, and piece yourself back together with absolutely no regrets whatsoever. Elio will make you want to live your life to the fullest. Elio will make you want to break your own damn heart. It's so rare that a performance truly shows the depth of longing, and despair, and passion a character conveys through written words without the internal monologue. Timothée is truly a revelation and his last scene during the credits will have a lasting impact on everyone.

    Armie Hammer is absolutely brilliant in the way he humanizes Oliver who is somewhat glorified through Elio's lens in the first part of the book. In the movie, Oliver is endearing and human and sexy and caring. He cares for Elio, and his love for him is so tender and so touching

    Michael Stuhlbarg's monologue delivered nearing the end of the film is a complete masterpiece, and without a doubt that monologue with be taught and quoted for many years to come. A raw and beautiful scene.

    Watch this movie. Watch it, and love it, and don't let it fall victim to over-hype. Watch this movie. Fall in love in two hours and twelve minutes, then question every single time you didn't allow yourself to feel just because you were afraid of getting hurt. Was avoiding a possible heartbreak that might have shattered you worth never getting a taste of the heavens? Was killing the potential pain and heartache worth it? Was it worth it?
  • borromeot14 December 2017
    Warning: Spoilers
    I cried my eyes out. It was cleansing and reinvigorating. Timothee Chalamet is the living image of a friend from my childhood. He had a similar experience but a very different outcome and it made me think with a broken heart that if my friend had had a father like Elio's father he could have had a real chance at a happy, constructive life, instead of the agonizing pain that he went through. I hadn't though about him for years and Timothee brought him back to me with enormous power. What a beautiful, beautiful performance. Armie Hammer is a total revelation, the perfect foil for a first love. Michael Stuhlbarg introduces us to a character I had never seen on the screen before. He moved me no end, Then, of course, Luca Guadagnino. My hat to you sir. This is a film I will see many times.
  • Warning: Spoilers
    *****This review may contain spoilers!!!!*****

    I have just finished reading the book. It is deeply moving. I am still in a daze. Heartbreaking and inspiring at the same time. The film adaptation is erotic, cinematic, well acted, and painfully beautiful, as Luca Guadagnino's other film, I Am Love (starring the luminous Tilda Swinton).

    What makes the theme universal? To my eyes, it has to do with the complex issue of love and loss. The film and the book deal with love/loss not in the simple sense of losing the person we love, but in the sense of deliberately losing the person we love so we can sustain loving and desiring the person. "I can't love you unless I give you up" could be the line (not from the book or film) that captures the relation between Elio and Oliver.

    Both Elio and Oliver maintain the minimal distance between them instead of fully committing to their desire 'til the end. Which makes their love the sad kind. As Elio said, "Time makes us sentimental." The right time never arrives for Elio and Oliver. They relate to each other from the lenses of the past ("pluperfect" love, to borrow Elio's wording) and the future. It is never now. The thematic is appealing because it speaks to many of us who have loved and continue to love on the basis of the fundamental loss at the heart of desire. Is there a way out of this spiral? Is there another way of approaching love? These are questions the book and the movie leave the reader/viewer to answer. The ending is unhappy yet "satisfying", precisely because this satisfaction involves a mix of hope and agony. It keeps the movement of desire in motion, for both Elio and Oliver, and for the reader/viewer.

    PS: I can't help but reflect on this great film vis-à-vis Guadagnino's another great film, I Am Love, where the two protagonists literally leave their respective worlds behind to be in a world that they both share.
  • This film is pure sensuality and emotion. You can see through the character's eyes, taste through their mouths but most importantly you feel, by God how you feel. Luca Guadagnino manages to extract the very best out of his actors: Armie Hammer's performance shows unprecedented depth and Timothee Chalamet is the essence of awe inspiring acting, this film will land him an Oscar nomination at the very least.
  • pollak100018 November 2017
    Warning: Spoilers
    I really wanted to like this film. I read the book when it came out; I am a gay man; I love films about love relationships between beautiful men; I love films with bits of European languages and lovely European settings; I am 'pro' art house films which are all about characters and take their time. But this didn't work. Firstly, it was really too long. But my main problem was that the relationship between Elio and Oliver just didn't ring true. OK, a few small things happened between them which could have been seen as sexual (e.g. the shoulder massage), but they were both busy doing things with women a lot. Nothing wrong with being bi! And Elio is meant to be young, finding himself etc. But one day, he suddenly says to Oliver that he needs to tell him something, and Oliver says he knows what it is - but there really hasn't been enough evidence of that building up. I do realise that reading an article about Hammer which said that he had a clause added to his contract restricting the amount of sex and nudity he would be expected to do - well that made me struggle to see sincerity in his acting. Chalumet on the other hand is a great discovery. The way he holds a close-up all through the closing titles, showing a range of emotions, is very impressive indeed. I can remember so clearly what it was like at 17 (OK yes, 50 years ago) to kind of enjoy feeling sad and then elated about love and sex, and Chalumet shows that brilliantly. But he is not enough to save this film, and nor is the man playing his father, who does such an excellent job of channelling Robin Williams.
  • beti-2414923 September 2017
    The most sensually immersive film you will see all year, perhaps all decade. The performances from the cast - notably Hammer, Stuhlbarg and particularly newcomer Chalamet put this film in another league from all other recent coming-of-age films and romance films. You leave this film wishing you could stay in the world it has enveloped you within.
  • Chiron, in Barry Jenkins' Oscar-winning film "Moonlight," in addition to being gay and black, has to deal with drug abuse, bullying, and the lack of a supportive home environment. In contrast, in Luca Guadagnino's ("A Bigger Splash") achingly beautiful Call Me by Your Name, 17-year-old Elio's (Timothée Chalamet, "Love the Coopers") life is safe, comfortable, and surrounded by love though, like Chiron, he must come to terms with his true identity. Written by three-time Oscar nominee James Ivory and adapted from the 2007 novel by Andre Aciman, Call Me by Your Name is set in the summer of 1983 where Oliver (Armie Hammer, "Free Fire") is an American research assistant studying with art history Professor Perlman (Michael Stuhlbarg, "Steve Jobs") at Perlman's gorgeous villa in Northern Italy.

    Oliver arrives at this idyllic setting with its gardens, peach trees, and lakes to greet the professor, his wife Annella (Amira Casar, "Planetarium") a lover of German poetry, and his teenage son Elio who speaks several languages and transcribes piano scores for the guitar. Shot by Thai cinematographer Sayombhu Mukdeeprom ("Uncle Boonmee Who Can Recall His Past Lives") and buoyed by new songs from Sufjan Stevens, it is easy to feel yourself present in the languid summer afternoon, as Aciman expresses it, "with the scent of rosemary, the heat, the birds, the cicadas, the sway of palm fronds, the silence that falls like a light linen shawl on an appallingly sunny day."

    With Oliver's arrival, Elio now has to shift his focus from pursuing his French girlfriend Marzia (Esther Garrel, "Daydreams") to show the American student around town and give him bike tours of the area. Soon, however, he becomes annoyed by the American's brusque manner and his abrupt "later" whenever he's leaving. When Elio, who is Jewish, sees Oliver wearing a Star of David on a chain around his neck, however, he finds a common bond, jokingly telling him that his mother considers their family to be "Jews in discretion." Sharing the same bathroom, their friendship begins to expand when they engage in conversation and go swimming together. Although Oliver gives Elio a neck massage during a volley ball game, the boy seems unable or unwilling to process the feelings that it brings up in him.

    When Oliver causally tells Elio that he seems to know everything, the teenager confesses that he knows everything except "what really matters." Even when physical intimacy is established, there is the sense that they hold back from fully expressing their feelings and even prefer not to talk about them. Chalamet, in his first leading role, is a revelation, delivering a deeply affecting performance that shows great promise. Hammer's performance is restrained, but also fully believable, making sure that the age difference does not get in the way of the honest and genuine relationship they have established. As they strengthen their friendship, like lovers, their identities blend into each other and they express it verbally by taking each other's name. Call Me by Your Name is not an "us versus them" movie. There are no antagonists in the film. It is a celebration of love in all its wonder and mystery.

    There is gay sex in the movie but, like "Moonlight," it is about more than sex. As Guadagnino says, "it is about compassion, trust, and wisdom." All three of these values are expressed in the conversation between Elio and his dad, an interchange that is moving and wise. Though the film is "gay-themed," Guadagnino does not pigeonhole the characters into familiar categories and his refusal to deal in stereotypes or manufactured emotion gives the film the space to breathe and reach the place where tension can grow. Like "Moonlight," Call Me by Your Name has a universal appeal and can touch anyone, gay or straight, who has ever felt the confused and conflicting longings of first love, or who knows from experience that, in the words of the song "Plaisir d'amour," "The joy of love is but a moment long. The pain of love endures the whole life long."
  • DavidO-Scotland6 November 2017
    It is not often that films adapted from books capture the true essence, emotion and spirit of the book but for me Call Me By Your Name does just that. Superbly acted by a talented cast the film was a visual an emotional delight. Sensitively directed and beautifully shot with a great sound track what was not to like. For me it was a coming of age love story for Elio and something very special for Oliver. Simply calling it a gay movie does it a disservice. It is much, much more than that. While the whole cast were strong the two leads, Armie, and Timothee just had that magic on screen. And Timothee Chalamet's performance was stunning absolutely stunning. His closing scene will become a cinema classic. Don't be put off by the gay tag this is a beautiful love story, sensitively told that surly anybody can empathise with. Don't miss it.
  • First, to all the Americans on here outraged about the film "endorsing" a criminal act - NEWS FLASH!! Just because the age of consent is 18 in your country, doesn't make it so everywhere else in the world! 18 is comparatively old by global standards. I believe the average age is 16 (as in my country) and in Italy where the film takes place it's actually 14. Whether you agree with it morally or not, no criminal act takes place - US law does not apply!

    However, I agree with many reviewers that Armie Hammer is miscast in terms of his character's age. He is 31 and looks it, whereas Oliver is meant to be 24. His age is never referred to in the film, so viewers who haven't read the book are left with the impression of a 30-ish man engaging in a relationship with a 17-year-old, which Timothee (20 at the time) does convincingly portray. I can fully understand how that would ring alarm bells for many. If they'd had an actor who actually looked 24 I think that would have created a very different dynamic. Even so, the relationship is hardly of a paedophilic nature. And I don't think most people would regard 17-year-olds as "children" physically and emotionally, even if they may be legally.

    Timothee Chalamet gives an incredible performance fully deserving of all the accolades, but I found Armie's inconsistent at best. He does get better as the film goes along. Maybe it's just that I didn't find his character particularly appealing... to me he comes across as rather abrupt and arrogant, and weirdly passive-aggressive and patronising towards Elio for much of the time. The physical scenes between Oliver and Elio were excruciatingly awkward to watch and didn't ring true to me - but I'm a straight female so what would I know? I haven't had that reaction with the (admittedly few) other gay films I've seen though. Maybe it was supposed to reflect real life, or maybe I am just too accustomed to male-female depictions. Ultimately the relationship seemed to consist of Elio being infatuated and Oliver enjoying being the object of that infatuation, rather than a true love story.

    Personally the relationship I found most touching in the film was that between Elio and his parents. Although they aren't given much to work with, both the actors playing his parents do beautiful, nuanced work... and the much-lauded scene near the end with his father was stunning and truly moving. It was refreshing to see a such a loving and accepting child-parent relationship, done in a natural and non-affected way. It rang very true to my own experience as an only child and it was nice to see this portrayed on film for once, instead of the tension-filled relationships American films usually depict.

    Overall I thought the film was absorbing and well-done, but neither the masterpiece or great love story it's being hyped as.
  • Warning: Spoilers
    This is the kind of film that you see in 'Coming Attractions' and you think that though it sounds interesting enough to see, it will never live up to its hype. And still you go see it. And yet, even though you knew the buzz for the film was overblown, you are even more disappointed upon leaving the theater than you were prepared to be. This is sub-mediocre cinema for the pretentious mass of moviegoers.

    For one thing, it was way too long, at least a half hour more than necessary. Too many wasted, extended shots that did nothing to advance the paper-thin narrative of Vulnerable Younger Man Elio falls for Manipulative Young Man Oliver, involving themselves in a six-week summer fling with full parental approval. Oliver has his peach and eats it too, then moves back to the United States to proceed with his pre-planned heterosexual lifestyle. Elio is then left to pine and yearn and mourn with a beautiful sad-face through the closing credits. Two hours and ten minutes for this? No thank you, sirs.

    About the performances: Armie Hammer is a truly beautiful physical specimen of a man, but in this film that is the full extent of his acting ability. Preening, with an exaggerated sense of dismissive cool, his portrayal of Oliver left the sense of an actor trying too hard to pretend that he was comfortable in the role. This sense is re-inforced in the promotional interviews for the film, where he seems to be working just a bit too hard to show how cool he was with kissing and simulating sex with another beautiful young(er) man. The utter sterility of the sex scenes or the lack of explicit nudity, however, as dictated by Hammer's contract, belie his overcompensating demeanor. Understandable, perhaps, but this kills the credibility of any emotional chemistry beyond the two men on- screen.

    Timothée Chalamet, on the other hand, is remarkable in the way he inhabits his role, with a kittenish physicality, all lean, wiry lines and lithe angles, that more than holds its own in the scenes with Hammer. Despite the unbelievability of any emotional connection between the two characters, Chalamet's Elio gives a palpable sense of physical attraction to the older Oliver, a man-crush that gives way to physical yearning. The depth of Chalamet's performance was what carried the film, and was by far the most interesting, successful aspect of the production.

    The novel could actually be interesting, but as brought to screen it was diffuse, dissolute, and disparate; like a collage attempting to depict a mosaic of a mural. This film will get praise for dealing with a sensitive subject, and I suppose that is fair enough; I only wish it had been more interestingly and convincingly executed.
  • I loved "A Bigger Splash" (the previous film by Luca Guadagnino,) and was in awe by the trailer and stunning reviews for this film. Needless to say, my expectations were utterly shattered by this powerful, emotional, and gorgeous drama. It's one of the best films of the decade, and clearly the best film of the year so far.

    While this isn't the type of film with too many spoilers, I still don't want to give too much away. It's better to go into such a sublime film like this knowing less rather than more. What I will say is that the main plot concerns an adolescent man who is spending a summer in the 1980's with family in Lombardy, Italy. He begins having a relationship with an older man invited as a guest by the family played by Armie Hammer. The film's pacing is superb and lets the viewer genuinely meet these characters, who are bonded by both friendship and physical affection. This is clearly shown throughout the movie, as the chemistry between the two leads is excellent.

    But what makes "Call Me By Your Name" such a phenomenal film is its gripping sense of feeling. Viewers truly feel that they are away from where they are viewing the film, and truly feel like they have been transported to 1980's Italy. Guadagnino is a masterpiece at eliciting senses, and the audience's sense of senses are used to full effect to simulate the true feelings of being in Italy. From luscious depictions of peaches and apricots grown in the countryside, to the streets in gorgeous Italian towns and the steamy espresso, every sight and sound in the film feels truly authentic and impactful on the viewer. I have not seen such an effective use of reflecting on audiences' senses to create a more immersive viewing experience in a film in years. The film's score is exceptional as well. It feels authentically Italian and beautifully emotional, especially when paired with the film's script in many scenes. The writing feels both authentic and intelligent at all times, and the film doesn't even manage to let its guard down in a single scene by failing to grip the viewer with its beautiful script. A late-film monologue by Michael Stuhlbarg is a particular highlight.

    As one can see from reading this review, this film is truly unforgettable and a brilliant trip to Italy. Its immersion in its setting and characters remind us of the focal point of cinema: to expose the viewer to unique settings and opportunities and to transport them to these opportunities through the language of film. Recommended to the highest degree. 10/10
  • Warning: Spoilers
    I genuinely do not understand the hype of this Movie.

    Armie Hammers Character is supposed to be a 24 year old Grad Student. The man is a solid 31 (Born 1986) who looks to be in his late 30's, whether that be from costume, or makeup. So to picture either one of them as a young adolescence exploring each others sexuality, is not there. It looks more like an old man trying to (and failing at) seducing a young uninterested boy.

    His character should have been recast at the first table reads. Armie Hammer makes Oliver seem like a pretentious showboating creep, and the random acting from happy, to laughing, to dancing in the street, to screaming,t o's all over the map and it;'s terrible.

    The screenwriter should have his Oscar revoked. There was Absolutely no Chemistry between the two main characters, which didn't help that their dialogue, body language, and facial expressions towards each other was uncomfortable and forced. In the book, the internal dialogue of Elio's longing for Oliver is rampant, NONE of that is Portraid on screen for the first half of the movie, so when it finally happens, it's seems so unrealistic and forced.

    An example, When Oliver reaches out to Elio to help his shoulder, The actors cringing and pulling away does NOT give the idea that he's interested, or fighting back emotions he can't control. He seems to be frankly disturbed by this man touching him.

    It also doesn't help that for the first half hour these two male characters showing their interest in women, from (HORRIBLY) dancing with them, to rendezvous in the water, to dates in the city, to sexual encounters in a field, to a secondary planned out encounter in an attic, NONE of that is any indication that Elio is interested in Oliver, at all!! But they talk to each other in riddles at a war monument and it's supposed to be believed that they're talking about a homosexual attraction that Elio has for Oliver.

    Can I also mention the forced plot movement, from the mom randomly reading to her husband and 17 year old son about a prince who just doesn't know how to tell a princess how he feels....or the father and his slides of young desirable men, just beckoning to be touched.... to the songs in the car, or alley, about new love. That's poor writing when you have to dumb down the story so much that you're TELLING the audience "This is the part in the story where the characters have to tell each other hoe they feel, and this is the part when they're going to have sex"

    And what was with the editing? The cinematographer should give his head a shake....Apparently the scene in which Elio is sitting in the garden and the Music is playing while those blue filters and visible film was from an issue with the physical film of the movie, but it didn't fit into the movie in any way! Or going from a full orchestra backing to immediate cut to silence to the bizarre jump cuts....

    A perfect example of being pulled out of a scene, Oliver and Elio are spinnign and twirling randomly in a field, then on a Mountan, screaming the whole time like idiot children with too much sugar. Then it cuts to a midnight scape in a stone street alley, where they're twirling on the wall, Oliver randomly runs over to peple, grabs a woman, pulls her to an exact spot and starts dancing with her like a drunk uncle at a Wedding Reception. Then, out of NOWHERE provoked by NOTHING Elio Throws up. We then immediately cut to then kissing, then Oliver naked in a window, with Elio in bed, then a train station.

    Where did that come from?! Why did he throw up?? What was with the dancing? Where was the explanation for any of this? Was it just not important enough to be adapted from the book? Did Elio HAVE to throw up?!

    The only redeeming factor was the Robin Williams Stand in Father, talking to his son. Which, for a father to be that accepting, in 1983.....Is the most fantastical part of this movie.

    The ENTIRE time I watched this movie I wanted to scream out "WHAT IS HAPPENING?! WHAT?! WHAT ARE YOU TALKING ABOUT?!" I felt like there were ants on my skin as I tried to piece together why SO many people insisted I just HAD to see this movie. I truly do not understand the Hype.
  • Warning: Spoilers
    The scene which I found the most moving is when the girl Marzia, in a beautiful red dress, arrives on her bike in the hope to meet Elio again, and is so much disappointed with his dismissal of her. After four days not having contacted her, after two lovemakings, he rejects her point blank. He has not even taken the initiative to let her know that he is not interested in her anymore. The look of grief on her beautiful face is heartrendering.

    And that is my main critic of the two characters of the movie: they are so insensitive to other people's feelings, and as such there is no identification of the viewer with them, gay or straight. If you have found out that you like boys more than girls, why giving girls hope that you will be her passionate lover. If anyone is a traitor in this movie, it is Elio, because of making love to Marzia, knowing he can not give her what she is prepared to give him, and Oliver, when he anounces that he is going to marry, and in 1983, that could only be to a girl.

    Another flaw is in the parents: -do you think mother knows-, asked Elio his father (about his lovemaking with Oliver). I don't think so- is the answer. Of course she knows! Every mother knows intuitively that her son is gay, which is proved when she tries to console him on the way back from the station. Apperently the two parents don't talk to each other about their son, between smoking there cigarettes.

    And that is my last point: why the cigarettes? In 1983 the negative effect of smoking on health was already widely known, and there you are, in beautiful Italy, a nice home with books, music, erudite guests, gardens and orchards; then follows a moving speech of the father to his gay son that he will be always there for him, while in fact after another ten years of smoking he will only be there for the oncologist or the cardiac care unit.
  • Warning: Spoilers
    I just didn't like this movie. I found it slow-going, and banal, and the characters uninteresting. Early in the film, I decided the father character was a complete nerd, which made his *moving* speech at the end just laughable... turns out HE is a closeted gay, which is why he was unconcerned that Oliver may have "corrupted" his minor son (I guess parents don't have to worry that a gay relationship with a minor boy might result in pregnancy). For two hours, scenes of lakes, swimming holes, dusty country roads and charming villages just couldn't fill the gaps left by undeveloped and annoying characters.
  • Warning: Spoilers
    Ratings here for this movie are a joke. The first 20 ratings are 10 out of 10 with absurdly over the top praise. Really? Someone was paid to write them maybe? or the crew organised a ratings campaign. This movie was above all, slow and boring. I quickly lost all interest in any of the characters. One pointless scene after another. At the time Elio had sex with the peach, I googled the length of the movie and realised there was another 30 minutes of this 132 minutes of tripe to suffer through. I couldn't face it and four of us walked out. Oh and unless it was in the last 30 minutes, the morality of a much older man fooling around with the 17 year son while staying in the house of his colleague was not addressed? Was this romanticising casual sex with children? Kind of creepy. Not a patch on Brokeback Mountain. Far more interesting, way more depth and nuance, far better acting.
  • I found this film rather emotionally unengaging. I was very aware that the characters were acting and that I was being manipulated. This film felt smug and self-congratulatory. I thought Armie Hammer was too old for the part. I didn't like the way in which the girlfriends were reduced to bit parts and foils with no real existence of their own. Ditto the housekeeper.

    I loved Moonlight and one of my all time favorite films is Brokeback Mountain so gay love is no barrier at all for me. This film verged on pretentious.
  • Warning: Spoilers
    I guess watching this film is fairly different for people who have read the book by now, but for me, this film is highly disappointing and, occasionally even disturbing. First of all, the cast for Oliver character is deeply problematic. Not because Army Hammer is a bad actor. On contrary, I think he is all right in general. However, the role simply does not suit him. Oliver should be just a few years older than Elio, while Hammer looks like (at least) 15 year older than a younger actor, and on the screen there is a striking encounter of a grown up, bored older man seducing a half his age ( and still under age) boy. That is a disturbing dimension of the film that probably does not strike in the book, but it attracts too much attention in the film, and looks disturbing.

    Second, all the other characters in the film, apart from the main two, are so underdone, ridiculously superficial, with bad directing and bad acting, that it is very very difficult to imagine such a situation: everything is set up for two main characters to engage in the affair, nobody around them matters in any way, they can do whatever they want, and everybody is just a background to their situation. Well, that does not happen in real life ever. The most weird part is the act of Elio's parents, especially father. In general, both parents look like they enjoy bringing some pretty "assistants" to their house, practically inviting them for a holiday, with pretext that they need "a help with research", and then the whole family, friends and neighbors flirt with this assistant, waiting to see with whom he or she will be having an affair. That is how it looks on the basis of what is shown. During all this time with Elio's family, Oliver behaves as if he is on vacation, going around full of himself, showing his body, kind of flirting with Elio's parents, and everybody else, while his parents deeply approve everything he does or says, like he is a God, although he is supposed to be "doing some work", actually. The most ridiculous figure in it is Elio's father, who looks like a sad comedian who is dying to catch Oliver's smile, in spite of being a middle aged professor happily married with a beautiful wife. His wise words to Elio in the end confirm his own more then obvious homosexuality, and even his "envy" of his son affair with another man, which is really more then weird. Likewise, it sounds weird when the parents announce in the end that now they will be choosing a new "assistant"for the next summer who will be a woman, so we can clearly imagine an attractive older woman coming now to seduce Elio again, under the watch of his parents, of course. I am sorry, I am not really comfortable with all that, that all looks a bit sick, to tell the truth

    In sum, film is more like a prayer to the lust and superficiality, adoration of pure form and vanity, than something deep. The boy is not coming of age in some authentic way, he is more being a good boy doing just what his parents expect from him, no matter how strange it is. There is no a real message in this film.
  • gemmiixd27 December 2017
    No story line. Can't help but wonder how many people would be writing "Perfection" if it was just a boring hetro couple? Cinematography and scoring only redeeming features + old mans speech at the end. Can't believe I just wasted 2.5hrs of my life.
  • jsmith-3288831 October 2017
    Simply put: the best film I've ever seen. This production with a stellar cast and tremendous director and producers have made, through my eyes a perfect film.

    The characters are engaging, the emotions are raw and palpable. However, the chemistry between all the actors, are truly magnificent. You can relate, extraordinarily to the characters and the storyline of a first love and the trepidation you feel when telling someone how you feel and not knowing whether that will be reciprocated.

    Timothée and Armie have done a tremendous job in depicting honest and raw emotions and feelings and love that translate with audiences of any nationality and transcend barriers like no other film before it.

    This is the best film I have ever seen and highly recommend you view.
  • As a producer/director who specializes in gay genre movies, I was eager to see "Call Me By Your Name". The positive buzz about it further fueled my anticipation. What a disappointment! Handsome newcomer Timothee Chalamet turned out to be just about the only redeeming feature in an otherwise hollow and artificial waste of time.

    "Call Me By Your Name" suffers from numerous fatal flaws: The main characters lack any believable "chemistry". Armie Hammer (Oliver) is a horrible actor with as much depth as a cardboard cutout. There is absolutely no effort to explain the attraction Elio has for aloof Oliver and visa versa - it seems to come from nowhere and for no reason. There are hints that each of the two main characters has special talents - intellectual Oliver and musical prodigy Elio - but those scenes seem out of place and contrived with no payoff in the plot. The weird request from which the movie gets it's title is spoken in a scene, but there is no explanation for it. It comes from nowhere and goes nowhere. If anyone said to me, "Call me by your name" after we just had sex, I'd say "Later" (this will be more amusing to those who have seen the movie). I haven't read the book, but the screenplay lacks any kind of conflict, which makes it BORING.

    The highlights are the beautiful Italian locations and Timothee Chalamet. I wouldn't bother to see it for any other reason.
  • Warning: Spoilers
    Two beautiful men, beautifully shot, in a beautiful country....what could go wrong?

    The problem is that the connection between the two men is purely based in sexual attraction, which makes for an inherently boring story (actually it's a non story). Sure it could also be that they are both Jewish but let's not be naive here. If either character were old, fat, and bald, I highly doubt being Jewish would be the reason they "fall in love" with each other.

    You know how when you open up Instagram and see a beautiful picture of a beautiful person in a beautiful country? Imagine having to stare at that picture for more than two hours. How long does it take for it the tedium to set in? That's what this movie is. Amie Hammer's character has all the depth of a J. Crew model. His "thing" is to brush his hair back with his fingers. It is simply not believable that he is a pHD candidate in archeology.

    Elio's character is a bit better. But in the end, it's a movie that tries to dress itself in depth when it's content is the antithesis of deep. All the pretentious dialogue, the foreign languages, the academic posturing, cannot change the fact that two people wanting to have sex with one another is interesting for about a hot minute. Which is way less time than is needed for an entire movie!
  • I finally saw this Oscar nominee (just one week before the award show!) and I was so disappointed - it was long, slow, and not very romantic. And I don't think a director should get any credit for making Italy look beautiful! Apparently in the book, Oliver is 24, but Armie Hammer is 31, and he looks it, and his age is rather distracting because the relationship borders on inappropriate already, but those extra years make the relationship even less appealing. The men take forever to connect and it's not like you're really rooting for them. Elio is a spoiled brat who spends most of his time glowering at everyone. He even expresses his desultory attitude to Oliver in an early conversation - he clearly has no idea how privileged he is, to lounge around Italy all summer, doing whatever he wants, unaccountable to his indulgent parents. As an audience member, I wasn't very invested in his getting his supposed heart's desire. Nor did the men have much chemistry. Oliver says late in the movie, "I love the way you say things." I thought, what? How many conversations did they even have? Mostly they road bikes, and went swimming, and laid in the grass. Elio's father speech, which so many consider a highlight of the film, I found contrived - like what the writer imagined his father would say, or what he wished his father had said - about how pure his love with Oliver was. I have seen many films that I think portray that first love experience in a more compelling way for the audience (I would strongly recommend Beautiful Thing if you're a fan of this genre). I gave it 5 stars for boldness and great performances. The very best movie of the year? Um, no. I was expecting something much more charming and moving.
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