adonis98-743-186503 Six incarnations of Bob Dylan: an actor, a folk singer, Rimbaud, Billy the Kid, and Woody Guthrie. Put Dylan's music behind their adventures. Put each at a crossroads, the artist becoming someone else. Jack, the son of Ramblin' Jack Elliott, finds Jesus; handsome Robbie falls in love then abandons Claire. Woody, a lad escaped from foster care, hobos the U.S. singing. Despite the terrific cast that it has I'm Not There was a huge waste of time and talent, it was boring, dull and even the actors seemed bored out of their own mind definitely not a movie that i would never recommend to anyone to see in the end of the day especially if you loved Ledger's perfomance as Joker . (0/10)

Grant Gadbois As a disclaimer, I think it is important to say that I do not know a whole lot about Bob Dylan. I thought I knew enough when I started the film, and quickly learned I was wrong. "I'm Not There" excels as a work of art, and an anti-biopic – though it can be very enigmatic at times. The story tends to be hard to follow, as it jumps between characters and aspects of Dylan's work. This is most likely done on purpose, but it makes the narrative difficult to understand. This film is not one that allows the audience to sit back, an relax as they watch. It requires an attentive eye, and allows for an ambiguous definition, as the viewer must come to their own conclusion. After the movie has ended, you have to take the pieces of evidence given, much like pieces of a mosaic, and put them together yourself. In creating your own picture, you may find yourself missing a piece, not liking what you see, or wondering if you've put them together correctly. But that too is purposeful.

ryancarroll88 If there was was ever a film that could embody Bob Dylan, this is it, and that being said it is no means a biography. Rather than trying to encapsulate Dylan's life in any serial fashion, Todd Haynes opts to intersperse the different incarnations of the singer in both his music and personal life, imbuing surrealism and pure fiction to explain the chaos of his life. That being said, I wouldn't recommend this movie to people who aren't familiar with Bob Dylan or the musical movements of the 1960s-1970s; references like Pete Seeger trying to chop the electric cables with an axe at the Newport Folk Festival or tongue-in-cheek humor such as Dylan shouting at Jesus on the cross to "bring back your old stuff" would definitely go over most people's heads without any background.

Benoît A. Racine (benoit-3) This was an audacious concept. Having Bob Dylan portrayed by half a dozen different actors assuming fictionalized personas. As if the real Bob Dylan wasn't full enough of terminal contradictions. But as the producers of this boring, pretentious mess could only paraphrase and not quote directly from any documented reality (what is reality?) except Dylan's songs, of course, the film looses itself in the meanders of absolute arbitrariness and sundry parallel universes in spite of the best efforts of some worthy actors and talents. I lived through the sixties and Dylan's rise to celebrity and I didn't recognize anything of my perceptions of him in this film, probably because either the film or Dylan himself (who knows, right?) is more preoccupied by the flotsam and jetsam of terminal hype, the fame game and/or celebrity rehab scenarios to actually care what a man's music is supposed to mean (if anything). If you ever saw anything worthy in Dylan's music, you'll think twice about his talent after seeing this film. If you always thought he was a fake and a flake, your opinion will not be seriously challenged by this delirious and wasteful Actors' Studio job-creating program.