"You knew it starred Zooey Deschanel — who you like off and on, depending on the role and just how pixie she is - and Joseph Gordon-Levitt, who impressed the hell out of you in Brick and Mysterious Skin and, by rights, should be well ahead of Zac Efron on the “next big Hollywood leading man” chart.
It is, after all, the best indie romance since Eternal Sunshine of the Mind, a movie that fills you with that helium-like affection and a movie that will alternate between playing your heart strings like Eddie Van Halen on a coke bender and Yo Yo Ma covering a Beth Orton ballad. Jumping around chronologically, 500 Days of Summer tracks the rise, the fall, and the possible rise again of Tom (Gordon-Levitt), a greeting card maker with an architecture background, and Summer (Deschanel), an assistant in the greeting card company.It’s a story about love, but it’s not a love story".
Source: www.pajiba.com
"Whatever magical ability Wes Anderson once had to mesh well-crafted, supremely acted films with heart-bump, pitter-patter, soul-tug whimsy may have left him in 2001, but the spirit of Anderson’s first three films has been transplanted into the talent of Rian Johnson. In tone and aesthetic, The Brothers Bloom is the spiritual successor to The Royal Tenenbaums, but it’s less wink/nudge, less precocious, less satisfied with its own sense of cleverness, and even more novelistic in its approach. It possess the same heightened sense of reality, though; the same offbeat sensibility, and the same fairy-tale quality that Tenenbaums radiated, only The Brothers Bloom is the sort of fairy tale you might hear Ricky Jay recite to distract you from a 90-minute sleight of hand trick. 
Mark Ruffalo is charmingly slick in an uncharacteristic role in which he’s not any form of mope, which is Adrien Brody’s territory in The Brothers Bloom and he plays his part perfectly: A sad, empty man waiting for his inner puppy dog to rise to the surface and lick the world’s face. But it’s the two women in The Brother’s Bloom who steal it, own it, and sell it back to you for twice the price". Source: www.pajiba.com
"Whatever magical ability Wes Anderson once had to mesh well-crafted, supremely acted films with heart-bump, pitter-patter, soul-tug whimsy may have left him in 2001, but the spirit of Anderson’s first three films has been transplanted into the talent of Rian Johnson. In tone and aesthetic, The Brothers Bloom is the spiritual successor to The Royal Tenenbaums, but it’s less wink/nudge, less precocious, less satisfied with its own sense of cleverness, and even more novelistic in its approach. It possess the same heightened sense of reality, though; the same offbeat sensibility, and the same fairy-tale quality that Tenenbaums radiated, only The Brothers Bloom is the sort of fairy tale you might hear Ricky Jay recite to distract you from a 90-minute sleight of hand trick. 
Mark Ruffalo is charmingly slick in an uncharacteristic role in which he’s not any form of mope, which is Adrien Brody’s territory in The Brothers Bloom and he plays his part perfectly: A sad, empty man waiting for his inner puppy dog to rise to the surface and lick the world’s face. But it’s the two women in The Brother’s Bloom who steal it, own it, and sell it back to you for twice the price". Source: www.pajiba.com
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