Rating: 
Summary: BIG QUESTIONS, PASSIONATELY POSED IN A STUNNING FILM!
Review: The subject of this daringly emotional movie is faith, and it demands to be taken on. Von Trier's blurb on the DVD has him suggesting that this was a simple love story, but it absolutely isn't. It may be set among a simple people, but the questions it raises will have you thinking for a while. FIRST HALF: MARVELLOUS In a bleak Scottish village dominated by a rigid Christian sect with a profound distrust of outsiders, a childlike god-fearing young woman named Bess marries an oil-rig worker named Jan, a hearty, worldly sensualist. They hurl themselves into marriage with a reckless, carnal joy that is unnerving to behold. This first half of the movie contains some of the most passionate mosaic of love scenes I have seen in a while. Von Trier, together with cinematographer Mueller, creates an atmosphere of dizzying immediacy and evokes some vivid performances from the actors. SECOND HALF: MIXED BAG After all that wondrous love, the film suddenly takes a bizarre dip when the husband gets paralyzed and fears that he will never be able to make love to his wife again. So he asks her to find a lover and tell him the details about it, as a vicarious sexual existence. He tells her that this is the only way he can live, and without it, he will die. She refuses, but when his condition worsens, she ultimately succumbs. This bit I felt is where the film comes a tad undone. While it is VERY moving to watch, I began to question the leaps of faith we are supposed to take, as this strange mix of religion and sexuality smacks either of being too simplistic or too far-fetched. The husband's notions of depraved sexuality as salvation come across as illogical and ineffective. BUT, SO WHAT, IT'S A MUST-WATCH GEM: Despite my gripes, this is a fascinating film to watch (and own!) I have seen very few movies that take such huge risks, it is absolutely high-wire filmmaking, without a net of irony. Like the movie, the performances of the stars will surely leave you shaken, off balance, haunted.
Rating: 
Summary: I laughed out loud
Review: Please do not get me wrong: Trier means most of the things he says with this movie: and he is propably one of the 9 greatest filmmakers in history. I am just not sure that people realize how much this movie is a rebellion against certain turgid, self - important elements in Danish culture. He uses clichès and sentimentality to express ideas that are quite complex and clever: and even passionate. Its something Danes usually do not admit to be, but are actually quite good at: just look at that other Danish catholic convert, Niels Steensen.
(Not that i am that much for Catholicism, but it does make for some fine stories).
Two minor points:
1): I know people might "blank it out" due to ingrained stereotypes ("Footlose" was a charming movie, but its theme mayhave become slightly, well, over - used?): Triers main villains are NOT the Presbytarians: he establishes their supiriority to id - driven types pretty early on in the movie (its the "liberated" types who end up killing the main character too, come to think of it).
2): no, the movie is not "misogynist": yes, she actually knows what shes doing. People do, sometimes: even women (though a lot of people seem not to think so).
Rating:
Summary: Its a Wonderful Life, almost.
Review: My first experience with Lars Von Trier was Dancer in the Dark which was intentionaly lacking in production values and minimalist acting. There is truly a connection between these two films. The heroine is very naive and simple, but sweet and powerfully convicted and emotional about her goal in life. Both are faced with making a profound sacrifice for someone they love. But unlike Dancer in the Dark which decidedly dark, this film is more optimistic and magical almost to a Spielbergian degree. You have to ride through the entire film to understand. But it all ties together in a lovely way. I quite loved this film and considering that it is filled with mental illness, sex, perversions, and disfunctional religious relationships it ends up being very endearing and sentimental in a way not quite unlike a Capra film like It's a Wonderful Life.
So if you tend to dislike arthouse films this might be one you would like. Its very disturbing while at the same time leaving you with a good feeling. I was caught offguard by this film's willingness to entertain the whimsical when its seems so tragic. A surprising film worth checking out.
Rating: 
Summary: This movie was just terrible
Review: this film is terrible. the camera movement is jerky and stuff. what up wit dat? yo, this movie is whack! also, what's up wit da bells? man, I didn't understand dat at all. were they flying overhead or something? word.
Rating:
Summary: Absolutely Breathtaking
Review: This movie reaches you on so many levels, it's hard to know where to start. Bess, beautifully portrayed by Emily Watson, is a completely naive yet totally sexual human being who literally lives for the man she loves. Despite the fact that she becomes a prostitute, you have no problem seeing her as a heroine and the church elders as villains. Her faith in God, her willingness to give of her self and her ultimate downfall make her small character appear bigger than life. Stallan Skarsgard exudes sexuality and sensitivity, but does not come off as the manly yet sensitive charicature we have come to expect from movies. Like Bess, and like us all, he is very multi-faceted. He loves his wife dearly, and in fact tolerates with much good nature her child like ways, but battles his own demon when faced with paralysis. Despite the vile request he makes of her, it is impossible to dislike him. The symbolism shown in the frigid waters, the unyielding sea and the church reach our very soul. The musical interludes between each chapter serve to further grab at your heart. There are no heros and villains in this movie. Just honest humans who we come to understand and grieve for. This movie will stay in your heart for ever, provided it finds the depth it needs.
Rating:
Summary: Non-Mainstream Masterpiece
Review: "Breaking the Waves" is certainly as far away from the Hollywood movie etiquette as you will likely get for a film of its class. Mainstream movie viewers would do well to avoid like the plague. It has all the hallmarks of a bad production - terrible shaky camerawork, bad lighting, non-linear plot line, disjointed editing and low-budget all to the tune of a 70s soundtrack. The fact is that this is the film that birthed a new type of independent movie that uses film making standards "now known as Dogme with some revised areas" to approach film making from a new perspective. "Breaking the Waves" is not Dogme but did get that whole concept up and running. There is an overall air that the film makers are there on the scene, making a sort of documentary which can be distracting for many but this is what the films sets out to achieve. It almost resembles a Reality TV type of show. Basically the film is set in the 1970s in the northwest coast of Scotland. Bess, (Emily Watson) is a shy quite girl with frustrating sexual and psychological problems who marries Jan (Stellan Skarsgard) an oilrig worker which is not entirely appreciated by her family and friends. He leaves to go back to the offshore rig and she is left alone to spend the days without him. Basically there in an accident which leaves Bess seeking out other men which she has sexual relationships with to help her come to terms with the accident. There is a real shock ending twist and the film does surprise. All in all this is advanced art filmmaking with a great performances. Just remember that there are a lot of new film making concepts involved in this film and it does have a massive running time of 2hrs and 30mins. The film is also strong in sex, language and can be quite violent at times. Only for brave movie lovers who really want to see a great film that challenges the movie system with hyper-realism. Its either one or five stars depending on how much you appreciate films.
Rating:
Summary: it's the best
Review: it's the best,the best,the best...that's all...
Rating:
Summary: Harsh/Graceful Modern Retelling of Orpheus, Joan of Arch, ..
Review: Try at a short(ish) review: Breaking the Waves reminds me of Ingmar BergmanÕs work and other great auteurs who not only play with our emotions but reach into our gray matter and belief systems, stirring them all up. After 6 years, I finally felt prepared to view this passion play. It went from being a movie I should see to one that I am grateful I saw and will see again (when I am ready). Emily Watson is stellar and accompanied by a cast that almost seamlessly makes the strange premise of a wife trying to save her husband by sexual encounters with other men believable. Even the chapter breaks connote a sense of the story looking real but also not looking real. To keep this telling from being too stark and unyielding, Lars von Tier presents an unexpected sensuality and sense of humor in the first half. Otherwise, I donÕt think we could care about these extremely religious and/or secular people for 2 1/2 hours. On the other hand, it takes its cameras, not filtering the sound of the film running through the camera spokes, into the scenes of BessieÕs search for men. It is a very painful adventure into Hades for such a simple woman child. Ultimately, it is a story about attaining love but goes beyond to finding grace. It is a marvelous work to be in the collective consciousness and definitely not meant to be a popcorn movie. The film has an Achilles heel or two but so superficial that I hardly feel they need be noted. Make sure you have the stomach and compassion. It rang the church bells in my heart and mind. Try pairing this movie with EgoyemÕs ÔExotica,Õ any of BergmanÕs films, Marcel CamusÕ ÔBlack Orpheus,Ô Allen's 'Crimes & Misdemeanors' or DreyerÕs ÔPassion of Joan of Arc.Õ Then go out and get some sunshine, have a good walk and dinner with loved ones.
Rating:
Summary: Oppresive
Review: I'm almost certain that Lars von Trier is one of the meanest filmakers to ever live. In this light, Breaking the Waves is, so far, his magnum opus. The supreme statement of opressiveness from a director who gets off to putting an audience through a meat grinder, mixing in battery acid and a good bottle of burbon or two, packing them in half a pound of aluminum foil, baking at 375 for 30 minutes, sticking toothpics in them, and then serving them with some sort of caustic sweet and sour sauce. It even has turns of humor, love, and beauty, but everything else is just so f****** frigid. I don't find the dogme style to be particularly admirable, and indeed hold some level of contempt for it (as should be for any artistic or political "movement", however "right" or "wrong" their ideas), but I can't deny that some terrific films have been made in its style (notably, Festen), this being one of them. Even though watching this is a thorougly unenjoyable emotional rollercoaster of an experience (although there's no denying how well executed it is), I escaped with thoughts of how incredibly good it was occuring as frequently as those telling me how much I had hated it. As contemptable as it is, Breaking the Waves is one of the few movies that anyone should ever deem a "must see" (at least for anyone willing to relinquish three hours of their life... hours they'll never, ever, ever get back... hours that will make you feel as numb as your a$$ will...), simply because, as an experience, it will take you through a range of emotions matched by very few other films (as well as featuring some of the most contemptable "bad guys" ever... even though they're more irrationally earnest than "bad").
Rating:
Summary: Not for the faint of heart.
Review: Anyone that has seen "Dancer in the Dark" knows that Lars Von Trier's films can be both heartwarming and extremely dark at the same time. "Breaking the Waves" is no exception, in fact, it epitomizes the 'Von Trier' style. This is Emily Watson's first feature film role and she truly steals the movie. She brings, to the character of Bess, humanization that causes the audience to pity and sympathize with her, inspite of her audacious and dangerous behavior. Von Trier succeeds in balancing Bess' extreme character with Bess' husband and best friend. Bess does not come off as an unbelievebale character. She is simply a person who is a pure and innocent soul. This is central to the film and it is a testament to Von Trier's writing ability that at the end we still find this to be true. This film also comes right before Von Trier began the 'Dogme 95' collective with Thomas Vinterberg. You can see many of the techniques that would become a part of the Dogme manifesto in this movie. In fact the only 'music' used in the film comes during chapter breaks. These chapter breaks serve as a preperation for the mood to come and last about 45 seconds. In these, Von Trier holds on a surreal landscape while an Elton John, or other, song plays through the chorus. It really adds to the film. The same Dogme camera work is here as well. If you enjoyed "Dancer in the Dark" but felt the ending of that film was a bit heavy then stay away from "Breaking the Waves". But if you enjoy beautiful films that take you on a journey through many emotions, then by all means check this film out.
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