Bear Cub (2004)
★★★★ / ★★★★
I didn’t expect to love this movie because of its coy title and familiar plot summary but the way it told the story with such intelligence and emotion is impressive. This Spanish gay-themed but not gay-centered film, written and directed by Miguel Albaladejo, focuses on José Luis García Pérez and the way he takes care of his nephew (David Castillo) when his mother decides to go to India. Each of the character is memorable because they are full of surprises. For instance, I couldn’t help but laugh and have a smile on my face afterwards when the hippie mother revealed that she thinks her son is gay and it’s wonderful/a gift. She has a certain energy and spunk which made me think of my own mother. Pérez may be gay and lives an openly gay lifestyle but that’s not even half of who he really is. He’s a great father-figure but he just doesn’t know it because he’s too preoccupied asking himself what would be best for his nephew. As for Castillo, he was actually given a character to portray, a character that helps to drive the story forward. As the film went on and we get to meet other characters such as the grandmother (Empar Ferrer), the story gets that much more interesting and serious. Toward the end of the film, some revelations occured and I couldn’t help but gasp because I didn’t see such twists coming. This gem of a Spanish film knows how to tell a simple but extremely layered story with colorful characters that doesn’t result to stereotypes. It manages to use its characters in such a way that if a particular character didn’t exist, the story would be that much weaker. I can only wish more American films are like this because it puts the characters’ motivations on the foreground and doesn’t judge their background. It really does make a difference when it comes to overall feel of the picture. Definitely check this one out if one is remotely interested.
Mean Streets (1973)
★★★★ / ★★★★
The thing I like most about Martin Scorsese’s films is that he always gives his audiences the full package: great ear for dialogue, main characters that are very conflicted, astute use of color and settings that reflect a particular mood or attitude. This is one of the finest examples of Scorsese’s amazing career as a director. Harvey Keitel is wonderful to watch as a man who wants to acquire a respectable reputation in a mob in New York City’s Little Italy. However, his loyatly is torn in many different directions: the mob boss (Cesare Danova), his girlfriend (Amy Robinson), the church and his best friend (Robert De Niro). Keitel’s character is a man who wants to please everybody to the point where he ends up having too many worries in his mind. Those unfinished business that run about in his head breed frustration and anger inside him until he can no longer make everyone happy. However, this is not the kind of film that aims to teach audiences a valuable life lesson. Its goal is to simply observe this one man trying to keep his head above water while sharks surround him. My favorite scenes in this picture are all of the scenes when Keitel and De Niro would talk to each other. Each scene that they have whenever it’s just the two of them is so crucial because both of them reveal something that the audiences don’t know about them–usually something that is hidden whenever they’re around “tough guys” that run all over Little Italy. Some of the scenes really touched me because even though they are best friends that experience all the ups and downs, they’re more like brothers to each other. Even though De Niro’s character is irresponsible and immature, it’s not hard to tell that he loves Keitel unconditionally. On the outside, people may label this as a gangster film because of all the swagger of each character, but I consider this an ultimate character study. I admired Scorsese’s use of camera angles and quick cuts because they add to the movie’s overall feel. This film, without a doubt, influenced some of Quentin Tarantino’s best work such as “Reservoir Dogs” and “Pulp Fiction.” So if you enjoyed those pictures, you’re most likely going to enjoy “Mean Streets.” I would like to see De Niro, Keitel and Scorsese team up in a modern film to see how much their chemistry has changed.
Short Cuts (1993)
★★★★ / ★★★★
This three-hour film is more personal than epic. Directed by Robert Altman, this mosaic of people who are living in Los Angeles is truly one of the best pictures of the 1990’s. I’ve seen a lot of movies that try to connect disparate characters which involve multiple storylines but this is the finest example of that kind of subgenre. What I love about it is that it doesn’t try to forcefully connect the characters; each transition and twist of fate happens in an organic way to the point where I can actually picture it happening in real life. I also liked the fact that it doesn’t try to tell a story about how one person changes for the better after going through a hardship. Instead, the film’s aim is to simply show who these characters are and how they respond to certain challenges that come knocking on their doors. I was involved in each storyline but the three that stood out for me was the bit about Andie MacDowell and Bruce Davison’s son, Julianne Moore and Matthew Modine’s slowly crumbling marriage, and Jennifer Jason Leigh and Chris Penn’s unexpressed frustrations. Other stories that focus on Frances McDormand, Robert Downey Jr. and Annie Ross are interesting as well but those are more the peripheral storylines that serve to support the picture’s bigger themes. Despite it’s three-hour running time, I wanted to know more about these quirky characters. Even though their lives are painfully normal, enough strangeness happen to such lives that makes them completely believable. If one is a fan of movies involving intersecting lives, this is definitely the one to watch. I was expecting this film to be like “Paris, je t’aime” in order to prepare for the release of “New York, I Love You” (which I’m beyond excited for) but I got something so much more astute and rewarding.
A Simple Plan (1998)
★★★ / ★★★★
The first scene of this film involving a fox and a chicken coop serves as a template for what’s to come. I noticed right away that there are a handful animals that can be found in some scenes, but it’s only until half-way through when I realized their significance. Since this was based on a novel by Scott B. Smith, it’s not unreasonable to assume that the animals and their nature serve as a foreshadowing for the characters’ choices. What I love about this film is its ability to constantly ask the audiences how they feel about a situation after the characters face seemingly insurmountable challenges of lies and deceit. Just when I thought I figured out a group of characters twenty minutes into the picture, twists start piling up and my assumptions couldn’t have been any more wrong. Bill Paxton, Billy Bob Thorton, and Brent Briscoe are very convincing as the three men who lead simple lives who happen to find over four million dollars in a plane crash. Thornton and Briscoe wanted to keep the money, but Paxton didn’t. However, despite his intelligence, harmless facade and ability to think his way out of sticky situations, it is arguable that he is the most immoral of them all. His wife, played by Bridget Fonda, isn’t any better because she sees the money as an escape–a way for her family to have better lives–and she is intent on following that path. This film is grim, tense and is able to offer a mirror on how the dark side of humanity can poison even the best of us. It’s also about decisions; how sometimes you only get one chance so you better think things through before jumping to a conclusion. Most of all, it’s about happiness. Sometimes, we forget that we’re happy as is when we’re faced with a chance to become more than we currently are. Having it all is a gamble so are you willing to risk everything to attain more? The moral implications of this film are challenging and insightful; it reminded me of a darker, more serious version of “Fargo.” I was also reminded of a quote uttered by Frances McDormand in the end of that film: “There’s more to life than a little money, you know. Don’tcha know that? And here ya are, and it’s a beautiful day. Well, I just don’t understand it.”
Gods and Monsters (1998)
★★★ / ★★★★
Based loosely on James Whale’s life, this film is for both the fan of “Frankenstein” and “Bride of Frankenstein” back in the 1930’s and general film lovers. Ian McKellen plays the legendary director with such power and subtlety, I forgot that I was watching an actor playing a part. The way he told his stories about making films, fighting in the war, and falling in love has a certain organic feel to it to the point where I felt like my grandfather was passing on his most treasured memories to me. Brendan Frasier surprised me in this film because I’ve always seen him in comedies and action-comedies, but he was able to deliver as the gardener who craves for something bigger than himself. He is able to mollify the hunger by interacting with McKellen–someone who has done something important in his life. The dynamic between the two leads have a plethora of implications. To be honest, by the end of the picture, I find it difficult to define their relationship. Sure, they’ve become friends but what kind of friendship did they really have? Was it a utility friendship, pleasure friendship, or complete friendship, or a combination of two or three of them? Another stand-out was Lynn Redgrave as Hanna, McKellen’s caretaker. She was so colorful and spunky in her scenes so it’s hard for me not to notice her. Her relationship with McKellen’s character is multidimensional but it never took the focus out of the film’s core. My favorite scenes include McKellen telling his story of the man he truly loved despite the circumstances through which they met, when the film actually reshot some of the scenes from “Frankenstein” and “Bride of Frankenstein” and when McKellen was finally driven to madness/desperation. Even though this is well-made, this film is not for everyone because it’s really more about the characters, what they’ve been through and where they’re going instead of the plot driving the vehicle to a certain destination. This film has something to say about mortality and how one deals with life after great accomplishments have been achieved. It goes to show that the question of “what if” can be as daunting as asking “what’s next.”
The Band’s Visit
★★★ / ★★★★
This movie put a smile on my face from beginnning to end because the characters find something magical in awkward situations. An Egyptian police force (who is also a band) visits Israel to perform at a ceremony in an Arab arts center but their transportation did not pick them up. They have no choice but to spend the night in a middle of nowhere desert town where they meet kind Israelis (led by the strangely alluring Ronit Elkabetz). The leader of the police force is played with quiet power by Sasson Gabai. From the moment the film started, he is established as a serious person who is deeply conflicted. Later on, we find out why he keeps people at an arm’s length. Through his interactions with Elkabetz, we see chinks in Gabai’s armor; it is touching in just the right amount and it was done in a natural way. Elkabetz impressed me in so many ways because reminded me of Sonia Braga’s acting style: she can be tender and seductive while at the same time standing up for something she believes to be right. Last but not least, Saleh Bakri as the playboy member of the force manages to provide warmth in the picture. Even though he gets distracted too easily by women, he knows how to treat them right. His relationship with Gabai is interesting but it wasn’t fully developed. When the film ended, I felt like the filmmakers were just about to explore that relationship. But that’s what I love about slice of life pictures: not every problem or conflict has to be solved in a span of two hours. Even though this film barely runs for an hour and thirty minutes, it accomplished a lot. One of the best themes of the movie is finding similarities between two very different cultures, whether it comes to music, relationships, and being wounded by the past. The three main characters share a certain loneliness and I could identify with each of them equally. I also find this film commendable because it did not result to being political. It’s about people being themselves and why that should be enough to be able to relate to one another in a meaningful way.
Vicky Cristina Barcelona (2008)
★★★ / ★★★★
I knew Woody Allen still has it in him to make a really good film. After the wishy-washy “Scoop” and “Cassandra’s Dream,” a lot of people began to lose hope once again because they wanted a film as great as “Match Point.” “Vicky Cristina Barcelona” is sexy, character-driven and sublime. The premise is two best friends (Rebecca Hall and Scarlett Johansson) spend a summer in Barcelona and unexpectedly fall for an artistic and charismatic Spaniard (Javier Bardem). At first I thought I could relate more with Hall because she’s sensible and she knows exactly what she wants. But as the film went on, I could identify with Johansson more because she doesn’t limit herself by following society’s labels. She’s very open to things that can enlighten her not just intellectually but spiritually as well. Things get more complicated when the Bardem’s ex-wife, played by the gorgeous Penélope Cruz who deserves an Oscar nomination, returns after trying to kill herself. She provided that extra spice that the film needed in order be more romantic not in a safe way, but in a dangerous and unpredictable manner. I was impressed with this picture because each scene felt so organic. The characters talked and acted like real people, which I think is difficult to accomplish in a story about the complex dynamics between the characters. All of the actors had something to do and impacted each other in both subtle and profound ways. Another factor that I admired about this film is its stark contrast between American and European. The most obvious one includes Hall’s business-minded, unexciting husband (Chris Messina) compared to raw, passionate Bardem. One can also argue that Hall is more American while Johansson is more European. These differences even go as far as which types of clothes the characters wear. As much as I loved this film, I cannot give it a four-star rating because it needed an extra thirty minutes to reach a more insightful conclusion. I don’t mean tying up some loose ends in order for everyone to be happy. In fact, I love that this film was bold enough to leave some unhappy characters. It’s just that, in a Woody Allen film, you expect something more profound, something more complete. It’s not as introspective as “Match Point” but it comes very close.