आलोचक समीक्षाएं

Doerrie goes beyond the "Lost in Translation" jokes about East-West culture clashes to communicate something meaningful and deep about Japanese art and thought.

There's a grace to it all, and moments of oddball poetry.

A successful novelist whose films bear the expansive plotting and telling character detail of the page, Doerrie never seems in any particular hurry to tell her tales, preferring the journey to the destination.

There's something a little shallow about contrasting ungrateful German kids with their respectful Japanese counterparts and presuming the cultural differences are so cut-and-dried.

It's a strained but heartfelt work of muted sentimentality, obvious in its symbolism but grounded in a sense of life's preciousness and brevity. Depending on your mood and indulgence, you may weep or you may be left out in the cold.

Refusing to be rushed, Doris Dörrie blends individual experiences with universal emotions to create a quietly moving study of self-discovery.

The best I can say for Cherry Blossoms is that it's made with love; the worst, that it's been a big hit in Germany. Yearning for Ozu, Dörrie stops off at cute, and parks.

While Ms. Dörrie’s film is exquisitely shot, its themes and metaphors are obvious rather than subtle, and its emotional rhythms -- rueful laughter punctuating the pathos -- would not be out of place in a television drama.

At more than two hours, Cherry Blossoms could do with some pruning. And do husband and wife have to have rhyming names?

The movie's conceits are just barely endurable, but the sharpness of Dörrie's eye--for Tokyo's electric night, for Fuji's iconographic landscapes, for cherry blossoms--sustains emotion even when story logic fails.