Too slow not enough happened. Deneuve and Chaira were wasted. Charlotte was enigmatic for no reason. What did she do for a living?

This film had a lot of elements that I crave, lots of character development, slow moving plot, no stunt doubles or violence. It illustrates the weaknesses in human character and no one can be fully trusted. It did keep my interest and the ending spared us a long drawn out demise. The main character had almost no connections to anyone, not even a real home or a brother who cared much for him yet he was able to get in the middle of the most beautiful sisterly love. It is such a shame. There is some ambiguity so the ending is up to interpretation.

Never has someone as unworthy as the character of Marc been unbelievably the center of a love triangle with Sylvie and Sophie. That said, the cinematography is gorgeous and the ladies of this cast are all amazing.

A lovely story and a excellent performance of Charlotte Gainsbourg.

well acted family drama about missed opportunities and the wreckage that follows from not letting bygones be bye and gone.

The lead actors did a good job and the plot was unmistakably French but unfortunately predictable and the sound track a lil distracting.

"3 Hearts" starts with Marc(Benoit Poelvoorde), a tax accountant, missing the last train back to Paris. To console himself, he gets a drink and then asks Sylvie(Charlotte Gainsbourg) about local hotels. They bond so well that they agree to meet in Paris in a few days' time. Except Marc cannot make it due to heart trouble. So, Sylvie leaves with her boyfriend Christophe(Patrick Mille) to go to Minneapolis. That leaves her sister Sophie(Chiara Mastroianni) in charge of the family antiques business and in bad need of tax help. That's where Marc comes in, being back in town on business. So, I'm sure all of that sounds cute and/or romantic to you, right? But not to director Benoit Jacquot who sees the emotional pain in such a delicate setup, illustrated best by a musical score that is straight out of a horror movie.(That's not to mention the casting of Charlotte Gainsbourg who has starred in three Lars Von Trier movies.) For example, these are two 30ish sisters who both have no trouble with leaving long term relationships at the drop of a hat or a reasonably charming stranger, although in the case of Sylvie that would also involve giving up Minneapolis for Paris. Granted, not all of it works, especially a third act subplot that goes nowhere, but it's still an intriguing movie nonetheless.

Ah, French movies, so opposite of American jumpcut, blow'em up sagas. Actually, I rarely go to those but I do know that in an American family drama, in the scenes where the character has something difficult, tedious, or just confusing to accomplish, the director will relieve your angst, by jumping to the following scene where all that is done and we've moved on; whereas, the typical European flick will drag you through every tedious moment. In this film, we have scene after scene in which the Jaws-like score makes you think something momentous is about to happen and then...it doesn't. Ok, basic plot. Boy, albeit, wimpy, pudgy faced boy, meets boylike girl in a scene full of silly but sensitive dialogue and they bond....somehow. They make the predictable date that Pudgy Boy misses due to an anxiety attack, not as most reviewers wrote, a heart attack, and off Boylike Girl goes to the states full of sad-eyed regret to join her husband in the states. So as strange things will happen, Pudgy-faced Boy (actually, a petty bureaucrat in an ill-fitting shirt) meets Boylike Girl's crybaby sister and beds her. We get to repeatedly see his pasty-skinned back on top of Miss CryBaby. It invoked that feeling in me that people get when realizing their parents probably had sex with each other (and don't tell me you never fantasized that you were adopted.) Over the course of the next few hours, or at least it seemed that long, the Pudgy-faced Bureaucrat finally realizes that he is marrying Boylike Girl's sister. Having not seen much evidence of their budding romance, you're not sure why he can't just tell Miss CryBaby and have a laugh about it since they now have a charming little boy with the square jaw and large eyes of Boylike Girl in a gender switching play on the old-whose-baby-did-she-have bit. Finally, Miss Boylike Girl shows up and passion ensues, actually smoking ensues, and much of this romantic fantasy seems to revolve around it-a ubiquitous lighter becomes symbolic of all that was lost during the missed assignation. The director, who is said to long after the days of Douglas Serk films, full of primary colors and pointy bras, takes a lighter caressing scene to a new absurdity of underediting. And while we're talking pointy bras, what's with Boylike Girl and that sad little black bra that she wears under the same see-through linen shirt over the years (shades of Carrie Bradshaw's bra etiquette?) The new lovers at one point take off in a plane with the narrator-what, yeah, just plonks a narrator in there every once in a while-says they took off far and fast and then they came back, with a scene of a jet taking off and then a jet landing. I laughed and I still believe it was meant as a joke but no one else in the theater did so after the next heart-rendingly pathetic scene, I split. My friend had already left because the Jaws score, deedeedeedee, made him too tense. But bottom line, I suspect it was the unlikability of the characters that made the ending so unimportant for both of us. Well, maybe unlikability is too strong, annoying might be better. All the protagonists were annoying and the biggest star, Deneuve, was underutilized, mostly eating, smoking and clearing the dishes. In the end, the little dog who hangs around Deneuve's kitchen and the child were the only sympathetic characters in this lugubrious "country town," as the sisters both named it. One of the reasons I went to see this movie was that I was interested in the actors so it wasn't a complete waste. Outside of the pudgy-faced bureaucrat, there was the senior Deneuve, thick of body like the rest of us, but with the same beautiful face (and hair style) in a flick with her and Marcello Mastroianni's real life daughter, Chiara Mastroianni, along with actress Charlotte Gainsbourg, who also has a theater family pedigree. These folks are very watchable even in this limited-range story, more's the pity.

"B+-" {yes, that's a "B plus-minus"!!

There are many things wrong with the French film "3 Coeurs"--"3 Hearts"--but it will be memorable to me for two reasons: the first being a horrendous completely wrong ending and a soundtrack that kept me looking for "Jaws" to pop up on the screen! The story is about a man who falls in love with a woman only to, unbeknowingly, marry her sister. 70 years ago many versions of this was made in Hollywood starring Bette Davis and Mary Astor and/or Olivia DeHaviland as the sisters and either Herbert Marshall or George Brent as the man. A decade or two later it would have starred Susan Hayward! Now we have Charlotte Gainsbough and Chiara Mastroianni--the real life daughter of Catherine Deneuve and Marcello Mastroianni--as the sisters who fall in love, inexplicably, with the bland Benoit Poelvoorde, with neither of the women having chemistry with him. The director, Benoit Jacquot, who co-wrote the screenplay with Julien Boivent, has many times talked about his admiration for the films of the 40s and 50s and he seems to piece many of them together here with the melodrama but not the believability. The opening scenes seem to find us in "A Man And A Woman" or "Brief Encounter" territory and along the way there is "Back Street" and "An Affair To Remember" but, getting back to that ending, he does something that hasn't been done to shock an audience since a certain 온라인카지노추천 series pulled a fast one in the 1970s. I don't believe in giving any spoilers so I'll leave it at that. It is always great seeing Deneuve in a movie but remembering how she would have easily played one of the female leads in her heyday it is sort of disappointing seeing her playing the mother of the two women in a one note role. The camera deservedly spend a lot of time on the faces of Gainsbough and Mastroianni but too much time with the inappropriate , annoying, music. There is no rhyme or reason for the ending of this movie. All I can suggest is that its running time is 1 hour and 48 minutes and you should leave the theatre and/or stop watching it at 1 hour and 40 minutes and make your own ending.

OR DOES IT?: my take on the movies IT FOLLOWS and 3 HEARTS http://ow.ly/KTt4X

What a waste of talent. And the background music - dreadful. The character of Marc is so bland and boring, it is impossible to think that Sophie would have such an erotic and emotional response to him. The plot line is ridiculous, the subplot involving the mayor adds nothing other the very obvious "we all have secrets better left unrevealed". Marc is not physically attractive which, perhaps with a decent script, would not have been such a issue but unfortunately, it is. Skip this one.

Better of with a mug of cocoa and a good book. Hard to like anyone at all in this tale of self-indulgence and betrayal, or much believe in their emotions.

Marc meets Sylvie. They fall quickly for each other. They agree to meet again in Paris but the gods have other ideas and Marc's dodgy heart ensures he doesn't get there. Sylvie thinks she's been stood up and moves to Minneapolis. Marc meets and falls for Sophie, who happens to be Sylvie's sister. Things can only go wrong from there. 3 Hearts is a highly atmospheric drama with complex characters that you can invest in emotionally, cruel twists of fate and many a tense moment. Some oddly placed sound effects may make you think that you are watching a thriller but this is pure drama people!

The (non-stop, suspense) cello music thing makes you think there would be something big gonna happened in the next second, it never did, except another cliched love triangle storyline.

This movie amounts to: a lazy plot, crafted with great economy of imagination; empty characters, as flat as the screen where they wander without purpose, hanging from the strings of a bad screenwriter. In a word: heartless.

Un film bouleversant et sensible. Seul petit bémol : la musique qui fait plus penser à Shutter Island qu'à un drame sentimental