The Switch (2010)
★★★ / ★★★★
Kassie (Jennifer Aniston) decided she was going to have a kid even though she had not yet found the man of her dreams. She told Wally (Jason Bateman), her best friend, her plans but he thought it was crazy idea. She went with it anyway and found a guy named Roland (Patrick Wilson) who was willing to donate his sperm for money. During Kassie’s artificial insemination party, drunk Wally accidentally spilled Roland’s sperm down the sink. His intoxicated mind thought he could get away with it by replacing the lost sample with his own. The next day, he didn’t remember a thing. “The Switch,” based on Jeffrey Eugenides’ short story called “Baster,” was a bit of a surprise because it had a surprising amount of humanity. It could easily have been about the gags–like sperm and the hardship of being pregnant and giving birth–but it made a smart decision to pay attention to the characters’ motivations. Even though some of the lines delivered felt disingenuous, especially when the characters felt like they needed to deliver a speech in order to get their point across, I enjoyed it because I extracted bits of meaning, accidental as they may be, in their attempt. Aniston and Bateman had an awkward chemistry that worked. I thought that specific type of chemistry was vital because their characters conceived a child named Sebastian (Thomas Robinson) who was adorable, equipped with sad eyes, pouty lips, and eccentricities like collecting picture frames and putting strangers’ photos in them. The movie did a good job highlighting the similarities between Wally and Sebastian, but I wish it had spent more time exploring the bond between the mother and son. I wanted to see their similarities, too. After all, it was Kassie’s idea to bring a child to the world. Her trepidation of her dwindling biological clock was not a good enough reason for me to like her. With her specific circumstance, what made her a good mother? She was good with her son when he had to go to bed, but the feminist message embedded in making the decision to raise a child without a man was somewhat lost. Nevertheless, the emotional payoff toward the end was effective because we knew that Sebastian had learned, without being too obvious, to depend on his father and vice-versa. I also wished Jeff Goldblum and Juliette Lewis, Wally and Kassie’s best friends, respectively, had more scenes. They delivered a different sense of humor, Goldblum with his dry and deadpan delivery and Lewis with her baffled expressions and snide remarks, which was a nice balance to more pedestrian comical situations. Directed by Josh Gordon and Will Speck, “The Switch” was a bona fide comedy that lacked complexity but it wasn’t one-dimensional. It was enjoyable because our expectations were met and sometimes that’s more than enough.
★★★ / ★★★★
Graeme (Simon Pegg) and Clive (Nick Frost), British comic book fans, on their way to explore the legendary Area 51 came across an alien named Paul (voiced by Seth Rogen), on the run from government officials who wanted to exploit his extraterrestrial abilities. Written by Nick Frost and Simon Pegg, “Paul” was a quick-witted buddy road trip comedy equipped with a plethora of references to various sci-fi pop culture, obscure and mainstream. The film opened at the San Diego Comic Con. While it did make fun of fans dressing up as their favorite movie and comic book characters, it was never mean-spirited in its approach. In fact, it was a rather good start. Its bona fide sense of humor, situational or otherwise, was exactly why we wanted to follow Graeme and Clive in their epic, awkward, exciting adventure. As usual, Pegg and Frost had wonderful chemistry. The way they delivered their lines and the way they moved around each other convinced me that their characters were true BFFs. I looked at the CGI Paul with grand curiosity. Initially, I found him to be rather stoic. But the longer I stared at him, the more easily I could identify his subtle facial expressions; I almost wanted him to be my pet. He was funny and rather harmless. More importantly, the writing took advantage of the strange creature on screen. We learned specifics in terms of his abilities. For instance, while he had the power to become invisible by whim, he could only do it if he held his breath. Gifts with limitations are interesting. The government agent in charge of capturing Paul was called Agent Zoil (As in Lorenzo Zoil–get it?), gleefully played by Jason Bateman. Bateman being serious in a picture like this was like watching a giraffe attempting to do somersaults. It just didn’t ring together. However, it worked. His attempt to suppress his little ticks was what made the role funnier than it should have been. Also, there was a balance. We saw glimpses of how dangerous he could be. As he aimed his gun toward a moving target, I found myself holding my breath. I took the intensity in his eyes quite seriously and I didn’t expect to. His fellow agents (Bill Hader, Joe Lo Truglio), ambitious but incompetent and rash, highlighted the man in black’s intractable goal of getting to Paul first. One of the qualities I admired most about the film was it didn’t overwhelm us with cryptic allusions. There were obvious camera angles which served to highlight an important science fiction actor walking in on a frame. I didn’t get some of the references but I wasn’t bothered by them. Either I felt like I was still in on the joke or I was too preoccupied wondering what would happen next. “Paul” was sweet but never sentimental, funny but never obnoxious. I did wish, however, that we could have seen more of the alien hotspots that Graeme and Clive visited. After all, they were supposed to be on an epic road trip. And I would have been floored if Special Agents Mulder and Scully from “The X-Files” made brief appearances. Still, the picture did do without.
Date Night (2010)
★★★ / ★★★★
Steve Carell and Tina Fey star as a married couple who decided to go to the city on their date night to get away from the ennui of their busy schedules which mostly revolved around work and their kids. To spice things up a bit, they decided to go to an exclusive fancy restaurant which required reservations months in advance. Since they didn’t make one, Carell and Fey decided to pretend to be another couple–a couple involved in theft and currently being pursued by corrupt cops (Common, Jimmi Simpson) who seemed to work for the mob of some sort. When I saw the trailers for this film, I knew I had to watch it because casting arguably the funniest people in Hollywood right now is genius. What I loved about this movie most was not because of the story–mistaken identities, a couple feeling like their marriage lacked spark; I’ve seen it all before–but because of the chemistry between Fey and Carell. They matched each other’s awkwardness and both had great comedic timing. The two actors managed to pull off genuinely tender moments between them where I couldn’t help but feel touched. They were a believable couple and that’s why I cared about their characters. Written by Josh Klausner and directed by Shawn Levy, the script and the filmmakers allowed the two leads to play on their strengths and let the awkwardness linger to the point of saturation. But “Date Night” was as funny as it was exciting. The scene when the two cars (one owned by constantly shirtless Mark Wahlberg, a conceit I was glad that the actor embraced) couldn’t uncouple from one another was a definite standout. It was so much fun to watch, I wished that I was in that car with them. However, I did wish that the side characters had more screen time. For instance, Leighton Meester as the babysitter, Kristen Wiig and Mark Ruffalo as the couple about to get a divorce, Taraji P. Henson (who I love in those “Tyler Perry” movies) as the honest detective, and James Franco (doing his “sparkly eyes” thing that I’m always impressed with) and Mila Kunis as the weird but hilarious couple involved in blackmail. Nevertheless, the movie was so much fun and the adventures all over New York City reminded me of “Nick and Norah’s Infinite Playlist.” Those who are in the mood for good-natured comedy with a spice of action will definitely enjoy this movie, while fans of Fey and Carell will undoubtedly be happy with it.
The Blossoming of Maximo Oliveros (2005)
★★ / ★★★★
This critically acclaimed Filipino film about a flamoboyant gay twelve-year-old (Nathan Lopez) who happens to develop a serious crush on a cop (J.R. Valentin) both impresses and disappoints. The conflict comes in when the cop finds out that Max’ family is involved in several crimes that range from theft to murder. I liked that this picture did not flinch when it comes to showing the poorer neighborhoods in the Philippines. While the living conditions are cramped, it still manages to show that most people are generally happy with where they are because things can get a lot worse. Having been raised in the Philippines for the first eleven years of my life, I found this film’s perspective to be accurate yet bona fide because it still manages to respect its subjects. It’s easy to look down upon a group of people if you don’t truly understand them. Another aspect I enjoyed about it was that Max being really queer was really not a big deal to most people. What I love about the Philippines and Filipinos in general is that it’s pretty easy for them to accept others who are different from the norm as long as they find a common bond. When I was growing up in the Philippines, I didn’t see a lot of LGBT celebrities on television. But nowadays, if you tune in on TFC (a cable set that people can subscribe to so they can watch Filipino programs all over the world), it’s difficult NOT to see gays and lesbians. In fact, they tend to be the most entertaining hosts on game shows or characters on soap operas. So I’m glad that this movie reflected the current realities in Filipino society. However, there were some things about the picture that disappointed me. Instead of truly exploring the non-sexual relationship between Lopez and Valentin, it delved too much into the politics of cops and criminals to the point where it took the focus away from Lopez’ interesting character. I wanted to know more about the lead character and his relationship with his accepting family (no matter how dysfunctional they may be). I also didn’t enjoy the overly melodramatic scenes. Perhaps it’s because I expected more comedy because of the trailer. Nevertheless, I’m giving this a slight recommendation because it’s strong in many aspects. It’s just that the very (but important) negatives kind of weighed down most of it.
★★★ / ★★★★
This movie provided me bucketloads of nostalgia because I used to watch the cartoons when I was younger. Starring and written by Dan Aykroyd (Dr. Raymond Stantz) and Harold Ramis (Dr. Egon Spengler), “Ghostbusters” is really fun to watch because of its originality and bona fide sense of humor. The film also stars Bill Murray as Dr. Peter Venkman, Ernie Hudson as Winston Zeddmore (an eventual Ghostbuster), Sigourney Weaver as their first client and Rick Moranis as Weaver’s mousy neighbor. I was impressed that each of them had something to contribute to the comedy as well as moving the story forward. I usually don’t like special and visual effects in comedies because the filmmakers get too carried away and neglect the humor, but I enjoyed those elements here because all of it was within the picture’s universe. Although the movie does embrace its campiness, it’s not completely ludicrious. In fact, since the Ghostbusters are part of the Psychology department, I was happy that the script managed to use the psychological terms and ideas in a meaningful way such as the idea of Carl Jung’s collective unconscious. I also liked the fact that it had time to respectfully reference (or parody?) to “The Exorcist” and “Rosemary’s Baby.” Although the humor is much more consistent in the first half, the second half is where it manages to show its intelligence such as the fusing of ideas from gods of various cultures and Christianity’s armageddon. Without the actors providing a little something extra (such as Murray’s hilarious sarcasm), this would’ve been a typical comedic spookfest. The special and visual effects may have been dated but it still managed to entertain me from start to finish because the film is so alive with ideas and anecdotes with universal appeal.
I Love You, Man (2009)
★★★ / ★★★★
Paul Rudd stars as a guy who can relate more to women than men, but he needs a best man for his wedding so he decides to start making some guy friends. He goes on a series of “man dates” and he eventually meets Jason Segel, a fun-loving guy who Rudd can genuinely connect with. Although I really liked this film, I didn’t quite love it because the middle portion wasn’t as funny as the beginning and the end. That inconsistency is glaring because when one experiences a lot of laughter in the beginning, expectations rise and a successful comedy should be able to deliver all the way through. However, all of the actors such as Rashida Jones, J.K. Simmons, Jane Curtin and Andy Samberg added something to the table. Even the side characters are interesting and hilarious because each of them has a certain quirk that doesn’t get old. I thought this buddy comedy was successful at making fun of the quirk instead of the character itself (when it wants to). However, there were moments when the film is actually making fun of the character which acts as a mirror on what the society expects from an individual. Ultimately, Rudd is the star here. I’ve seen him in a plethora of films where he’s the best friend or the funny brother. I think this movie, written and directed by John Hamburg, would’ve fallen apart without Rudd. In many scenes, I could feel his character’s awkwardness to the point where I wish he would stop talking to save himself further humiliation for trying so hard to be one of the guys. In a way, I saw his character’s silent suffering as a commentary about society–how guys are expected to act, look and speak a certain way in order to be accepted as a “man.” So the laughter that the movie gets from the audiences acts as a confirmation that guys who are more in touch with their feminine side are expected to change their ways and be how a “normal” guy should be. Like “Superbad,” “The 40-Year-Old Virgin” and “Knocked Up,” this is a really enjoyable, bona fide film and I would recommend it to anyone who is a fan of awkward characters being forced to deal with awkward situations.
Gran Torino (2008)
★★★ / ★★★★
I honestly thought this movie was going to end up a dud because the previews looked really preachy. But after about fifteen minutes into the film, I really cared for Clint Eastwood’s character even though he’s racist and a very secretive person. I knew he would open up a bit after meeting his Hmong neighbors but I wanted to see his struggles before becoming a better person. Eastwood’s character made me laugh even though he uses every racist Asian term because we are made to understand what he’s been through and how conflicted he is by people who do not look like him. The way he interacted with the Hmongs during a party was done in a bona fide manner, such as when the older women kept putting food on his plate. As part of the Asian community, that rings true whenever there’s a special occasion, especially when others think that you’re too skinny. The film was at its best whenever Eastwood’s character would interact with Ahney Her and Bee Vang; we come to realize that he treats them like a daughter and son, respectively, more than his blood relatives, and they treat him more like a father or a grandfather more than anyone else. There was a point in the film when Eastwood admitted that he finds more similarities with his ethnic neighbors than with his own flesh and blood. I think a lot of people feel that way especially when they don’t feel like they are appreciated despite their flaws. In a way, Eastwood’s character reminded me of my late grandfather. Even though my grandfather was not strict, he resembled Eastwood’s mannerisms such as his intimidating growl and the way he walked. As much as I loved the comedic moments, the dramatic elements are also very involving. The scenes which feature the Hmong gangs and the things they are capable of are both scary and heartbreaking. (I’m amazed by some people on IMDB who claim that Asian gangs don’t exist. Yes, they do exist.) I thought the ending was perfectly handled because it shows how much Eastwood’s character has grown and what he is willing to do for the kids who taught him how to feel more alive and connected. In the end, we realize what the Gran Torino is supposed to symbolize. Directed and produced by Clint Eastwood, “Gran Torino” is rumored to be his last film. If it is, I think his fans will (or should be) proud of this film. If it isn’t, then I’m excited for what he will come up with in the future.