Tag: cliche

How Do You Know


How Do You Know (2010)
★ / ★★★★

Lisa (Reese Witherspoon) was so passionate about softball, she made a career out of it. But when she was unexpectedly cut from the team, her life became turbulent as she questioned what she should do next. Coincidentally, one of Lisa’s friends gave George (Paul Rudd) Lisa’s phone number because Lisa, during a drunken night, confessed that she was curious about dating a non-athlete for once. George was as normal as they come other than the fact that he was being wrongly implicated in a federal crime. Will Lisa choose Matty (Owen Wilson), a successful baseball player, over currently unemployed George? One of the problems with “How Do You Know” was all of the characters were painfully needy and nice. When they got angry, they would express it but they apologized almost always immediately, like being angry was a sign of immaturity or that it was something to be ashamed of. I understood why the characters were that way because the material was desperate to be different from other romantic comedies where the characters typically would compartmentalize their negative emotions until the very end. But, without the right execution, as it was the case here, the opposite side of the spectrum was just as toxic as the cliché. Furthermore, the script was just not funny. An hour into it, I laughed probably once and chuckled a maximum of three times. When something funny was about to happen, I felt it coming ten seconds before. Casting Jack Nicholson, who played George’s father, was a letdown because he wasn’t given much to do. He was the distant father with a secret but there was nothing else to him. The majority of the picture’s attempt at comedy consisted of George being awkward around the girl he was in love with. As usual, Rudd was his usual charming, somewhat geeky, harmless persona but his character was also one-dimensional. The film contrasted George and Matty in a heavy-handed way. Aside from the obvious that one was a blonde and the other was a brunette, when Lisa would tell a story about how her day went or what was bothering her, Matty would avoid making eye contact. He would do things like ask her if she was hungry or he would start to talk about himself. On the other hand, when Lisa was with George, the hopeless romantic’s eyes were transfixed on her and when he would ask questions, it was directly related to her problems. Naturally, Matty was someone we would enjoy hanging out with and George was someone one we would marry. It was incredibly transparent who Lisa should choose that tension among the trio wasn’t generated. Written and directed by James L. Brooks, “How Do You Know” was not only predictable but it was also two hours long. How do you know when you’re stuck with a bad movie? When you keep checking the clock and asking yourself how many more bad jokes you have yet to sit through.

Tucker & Dale vs. Evil


Tucker & Dale vs. Evil (2010)
★★ / ★★★★

A group of college students were driving up to the mountain to have some fun when they encountered two hillbillies, Tucker (Alan Tudyk) and Dale (Tyler Labine), in a gas station. Having seen a lot of scary movies and heard of stories about grizzly murders in the woods, the college kids couldn’t help but translate Tucker and Dale’s every action as a possible chance to kidnap or kill them. In truth, the duo were only there because Tucker had recently bought a vacation home, a cabin, and they could use a bit of relaxation before heading back to work. “Tucker & Dale vs. Evil,” written by Eli Craig and Morgan Jurgenson, directed by the former, had a chance to really sink its teeth in horror movie clichés about hillbillies being nothing but churlish, incestuous, often cannibalistic, folks but it ultimately felt superficial because the one-liners and the physical stunts lacked range. The set-up was this: The young men and women were so stupid, they ended up killing themselves by accident. Cut to Tucker and Dale’s shocked and horrified reactions. The material was very funny during its initial gags, but the filmmakers failed to detach from the formula, ironically constructing its own clichés by making fun of clichés. The title promised the two friends fighting evil. After they rescued Allison (Katrina Bowden) from drowning, Allison’s friends thought that she was kidnapped because they observed from afar. This triggered Chad (Jesse Moss), innately irascible and shamelessly sporting an ugly popped collar, into a state of rage to the point where he ended up being as ruthless as the murderers his group of friends feared. The movie wasn’t specific in the “evil” that Tucker and Dale had to fight. Was it the negative stereotypes regarding hillbillies that became embedded in the genre’s bones over the history of cinema? Was it the apocryphal placidity in hateful individuals, who lived in the suburbs or cities all their lives, and their secret yearnings of violence just waiting to be unleashed? Furthermore, it failed to acknowledge that stereotyping can be a good thing; it helps our mind to process information faster than it normally would. For instance, they allow us to respond quickly to potential dangers. Relying on stereotypes and neglecting to put more thought into them, hence failing to sympathize with others who are different, is the real tragedy. If the screenplay had focused more on that message, tragedies even outside of horror movie conventions could have been effortlessly highlighted. The story really shouldn’t have been about the body count. Allison was in the process of getting her Bachelor’s degree in Psychology, hoping to establish a career as a counselor. I expected her to be more self-aware. The subplot involving Dale and Allison falling for each other was a nuisance, almost worthy of a dozen eye-rollings. Wouldn’t it have been too much to ask if they didn’t pine for each other so profusely? With every bloody confrontation between the hillbillies and the college students, it was interrupted by Dale having to explain to Allison what had transpired. Given that we just saw what happened, the little summaries felt repetitive and I started to wonder if the filmmakers were simply biding their time to push the material to a typical ninety-minute mark because the script became indigent of fresh ideas that cut deeper than boning knives.

Life as We Know It


Life as We Know It (2010)
★★ / ★★★★

Holly (Katherine Heigl) and Eric (Josh Duhamel), complete strangers to one another, were supposed to go out for dinner because their married best friends thought they would get along swimmingly. But they called it quits before they even reached the restaurant. Holly thought Eric was a child trapped in a handsome man’s body, while Eric thought Holly was a pretty but uptight blonde who had no idea how to let her hair down for a change. But when their best friends died in a car accident, they were named as one-year-old Sophie’s guardians. Holly and Eric had to try to put their differences aside to take care of the baby. “Life as We Know It,” written by Ian Deitchman and Kristin Rusk Robinson, were labeled by some critics as emotionally bankrupt because it used death as a source of commercial comedy. I’d have to disagree; plenty of films out there, especially dark comedies, have used the same topic and they received critical acclaim. I say why not as long as the film retained a certain level of respect. The movie didn’t feel malicious toward its subjects. The characters may have felt more like caricatures at times but, in general, it had a bona fide sense of humor. I just wish it had stayed away from too many gross-out humor involving vomit and changing diapers. Two or three of those scenes were more than enough but we were given about seven. The heart of the picture was Holly and Eric’s strained relationship. They tolerated each other but they obviously didn’t like each other. They were so used to having their way because they were single. The only thing they had to focus on was their career. Holly ran a business as a caterer (typically feminine) and Eric worked behind the scenes in a sports network (typically masculine). The story was most interesting when it focused on how they tried to change themselves and each other as they hoped to raise a healthy child. They had to break their typical feminine and masculine roles in order to be well-rounded parents. Their various approaches to parenting were rarely perfect–certain decisions were downright stupid like Eric leaving a baby to a cab driver just so he could go to work–but that was what made them charming. Through trial-and-error, they learned from their mistakes. Another source of conflict was the romance between Sam (Josh Lucas) and Holly. They should have had more scenes together instead of the unfunny scenes with the colorful neighbors (Melissa McCarthy) and the nosy Child Protection Services agent (Sarah Burns). We saw that they cared for each other but their situation was far from optimum. Holly was in a critical state of transition while Sam was ready to settle down. I was glad there wasn’t a typical rivalry between the two men in Holly’s life. “Life as We Know It,” directed by Greg Berlanti, had good elements but it was ultimately weighed down by too many slapstick humor and heavy-handed metaphor such as Holly’s business expansion reflecting Holly, Eric, and Sophie’s life at home. It could have been stronger if the writers eliminated comfortable but unnecessary clichés and taken more risks.

Whatever Works


Whatever Works (2009)
★★ / ★★★★

Boris (Larry David) was a cynical man. He was smart but he was lightyears from charming. He was a man without a filter; he took great pride in pointing out the phenomenal idiocy of mankind like their belief in the man in the sky, pretentious art, and the travesty we call modern culture. Nothing surprised him. Beating kids at chess and teasing them about him gave him pleasure. But his eccentric nature hit a detour when he met a Southern girl named Melody (Evan Rachel Wood). It was her first week in New York City so she had nowhere to go. To our surprise, he allowed her to stay in his apartment until she found a job. Despite what he considered to be her utter lack of intelligence, often calling her an “inchworm,” he began to like her the more they spent time with each other. Written and directed by Woody Allen, “Whatever Works” consisted of some good performances but it failed to resonate with me emotionally due to its lack of focus on the lead character. I enjoyed the film when it was only Boris and Melody in one room. It was like watching a man with anger issues fire in a shooting range: Boris was the shooter and Melody was the target. As Boris complained about humanity and the like, Melody just absorbed each verbal bullet. I loved her because she was sunny and words didn’t get her down like most people. She knew that Boris’ verbal diarrhea was therapeutic for him and, for her, it was an opportunity to learn something different, something so far from the beliefs she was raised in. They were good for each other even if it was just for a while. But when Melody’s mother (the wonderful Patricia Clarkson), Marietta, knocked on their door, it was a downhill race to the finish line because the story was no longer about Boris and his wild temperament. It became about Marietta’s evolution as an artist, her ménage à trois with our protagonist’s friends, and her desperate attempt to pluck her daughter out of Boris’ life and set her up with an actor named Randy (Henry Cavill). Another unnecessary piece of the puzzle was John (Ed Begley Jr.), Melody’s father, and his mission to win back Marietta’s heart. Boris hated clichés and this film ended up exactly that. I kept waiting for the director to pull something different out of the bag but he didn’t. Excitement came as far as Boris talking directly to the camera to acknowledge his audience, to discuss the concepts of entropy and the Heisenberg Uncertainty Principle. Only about a quarter of the material was funny. The rest of the time I spent wondering why Boris was constantly yelling. We didn’t know much about his background, other than he was once considered to be awarded a Nobel Prize, so why was he such an angry, hypochondriac misfit who saw himself as better than everyone else? “Whatever Works” was an appropriate title because it was mishmash of third-rate material from Allen’s other projects.

Touch of Pink


Touch of Pink (2004)
★ / ★★★★

Alim (Jimi Mistry) came from a conservative Islamic background so he moved to London from Canada in order to live the life he wanted. He enjoyed spending time with Giles (Kris Holden-Ried), his boyfriend, watching Cary Grant’s movies, and interacting with his favorite actors’ spirit (Kyle MacLachlan, with a ridiculous fake British accent) whenever he needed advice on how to proceed with life. When his mother (Suleka Mathew) decided to visit, he found himself scrambling on his way back to the closet. I found “Touch of Pink” to be an excruciatingly one-dimensional picture filled with dispiriting clichés. Alim was very unlikable because all he ever thought about was himself. Yes, without a doubt, coming out of the closet is difficult and often a painful experience, but I kept waiting for Alim to step up and be a man. He was around thirty years of age but he acted like someone who just turned thirteen. I knew teenagers who came up with better ways of telling their parents they were gay than Alim did. I’m not Muslim but, as a person of color, I couldn’t help but be offended with the script. I understand that the film was a comedy but a joke directed toward a culture becomes something else entirely when the material can’t move beyond it. For instance, the movie painted Muslims as people who only cared about marrying off their children to someone who was rich and successful career-wise. In every single scene, the adults kept trying to compare their worth. Life is simply not like that. I’ve met a number of Muslims and not many of them were like the ones portrayed here. They can be as sensitive and insightful as you and me. Don’t get me wrong, I support all sorts of observations and critiques regarding race, religion, class, and age. Where would we be if we can’t make fun of ourselves and each other? However, there must always be a certain level of respect between the critic and its subjects. I sensed no respect here. Written and directed by Ian Iqbal Rashid, the majority of the material needed to be rewritten and revised. Coming out stories can be amusing when the right elements are put together. But this film was mostly about the punchlines and less about the characters who were conflicted about their feelings toward homosexuality and each other. The director should have injected some substance in the main character and let him realize that coming out to his mother was painful for her, too. Most of the time, coming out of the closet isn’t just about the person revealing something to the world. If it was, coming out stories wouldn’t be as compelling or touching. Other complex issues come into play such as family expectations, lost friendships, and the experiencing the world in comfortable shoes.

Scream 3


Scream 3 (2000)
★★ / ★★★★

Post-college life was tough for Sidney (Neve Campbell) as she moved away from her friends and family to live in a house deep in the woods with her dog. Who could blame her for being traumatized after a masked killer, or killers, exhibited a fixation for murdering those she was closest to? “Stab 3: Return to Woodsboro,” a successful horror franchise, was in production in Los Angeles but the actors were attacked and killed by Ghost Face. It seemed like the killer’s plan was to murder the actors in which they died in the movie in order to attract Sidney’s attention and come out of hiding. The two obviously had issues to resolve. There was only one problem: Sidney, Gale (Courteney Cox), and Dewey (David Arquette) had no idea which script Ghostface had in hand because three versions were written. It meant there were three different order of kills and three different endings. Still directed by Wes Craven but the screenplay helmed by Ehren Kruger instead of Kevin Williamson, “Scream 3” had potential for excellence but the execution was too weak to generate enough tension to keep me interested. What I enjoyed was Sidney, Gale, and Dewey’s doubles (Emily Mortimer, Parker Posey and Matt Keeslar, respectively) because they were exaggerated versions of the real ones. What I didn’t enjoy as much was they weren’t given very much to do other than waiting to die in a gruesome fashion. And while the material played upon the actors’ self-centeredness despite being second- or third-rate celebrities, it didn’t tell us anything we didn’t already know. What made the first two movies so enjoyable was the fact that the comedy and horror were connected in a smart way. In here, the material relied on spoiled celebrities as a source of comedy and Ghostface’s hunt for Sidney as a source of horror. Since the two failed to connect, the script felt painfully stagnant. I wondered where the story was ultimately heading. Furthermore, the chase-and-stab formula became less exciting over time. It was awkward how the film would stop in the middle of the suspense and cut into a less exciting scene. In doing so, the scares lost considerable amount of momentum. And when it finally decided to return to the murder scene, it just looked silly and gruesome. It began to feel like a standard slasher flick. “Scream 3” still winked at itself, like the villain in a trilogy becoming seemingly superhuman, but it lacked the edginess combined with other necessary elements to bring the movie to the next level. It just didn’t feel fresh anymore. When the unmasking arrived, I just felt apathetic. It’s not a good sign when you’re looking at the clock every other scene to check the remaining minutes you have to sit through.

Dante’s Peak


Dante’s Peak (1997)
★★★ / ★★★★

One of my first memories was the 1991 eruption of Mount Pinatubo in the Philippines. I saw the destruction of our home, felt rocks falling from the sky, panic beginning to grow, and sky being so dark because the ash was so thick. Pierce Brosnan stars as volcanologist Harry Dalton who visited a small town led by Linda Hamilton as the mayor. Harry believed that the volcano was going to erupt soon because classic signs began to emerge, but his fellow volcanologists thought there was no scientific evidence to warrant immediate evacuation. Predictably enough, just when everyone finally agreed on a course of action, Dante’s Peak began to unleash major destruction. Evacuation became complicated for romantically entangled Harry and the mayor because the mayor’s kids (Jeremy Foley, Jamie Renée Smith) stupidly drove up the mountain to rescue dear old grandmother (Elizabeth Hoffman) who wouldn’t leave her home. I understand the negative reviews incited by this film. The acting was thin, the script was mediocre and the story was cliché. However, I admit that I enjoyed watching it because when I see a disaster flick, some of the elements I look for are destruction, visual and special effects, and a struggle for survival. This picture had those three elements. I thought the movie was at its best during the more silent moments where we were led to believe that certain characters were about to meet their demise. I don’t bite my nails (I think it’s a filthy habit) but I felt the urge to do so during the boat scene. The characters had no choice but to take a boat because lava was everywhere. But little did they know that the lake water had been turned into acid and it was eating away the boat’s metallic structure. In a nutshell, the boat was slowly sinking and touching the water meant a painful death. I’m most engaged when characters are trapped and I can’t find a solution for their predicament. Admittedly, some scenes did bother me such as Hamilton’s lack of leadership. As a mayor, I expected to see her making difficult decisions in times need–not just her own or her children’s but also the town’s. Instead, we saw her passing out coffee and going head over heels when she was around Harry. I felt like she wasn’t a very good leader or a role model which was a shame because I knew she was capable of delivering strength because she starred in James Cameron’s first two “Terminator” pictures. “Dante’s Peak,” written by Leslie Bohem and directed by Roger Donaldson, had its weaknesses because of its adamancy to stick with the formula but as a popcorn blockbuster, it had its moments of genuine suspense.

Saw 3D


Saw 3D (2010)
★ / ★★★★

In “Saw 3D,” written by Patrick Melton and Marcus Dunstan, the supposed final installment of the commercially (although not artistically) successful “Saw” franchise had three strands. First, Jill Tuck (Betsy Russell), Jigsaw’s wife, was on the run from Detective Mark Hoffman (Costas Mandylor) so she took refuge at a police station. In return for protection, she was willing to divulge information about the infamous murders. Meanwhile, Detective Matt Gibson (Chad Donella) was in charge of solving a new crop of grizzly murders. Unlike the ones before him, would he be lucky enough to survive? Lastly, Bobby Dagen (Sean Patrick Flanery) claimed to have been been kidnapped by Jigsaw (Tobin Bell) and was successful at escaping his famous traps designed to teach a macabre lesson through painful irony. He and his entourage benefited from his fame based on untrue information. When he was kidnapped, was he capable of living up to his promise? “Saw 3D” was an excellent example why the series should simply end. I found no redeeming quality in it because every other scene was a flashback to the other six “Saw” pictures. Flashbacks are normally used to enlighten its audiences, not drive us into further confusion (and frustration). When I read reviews from fans of the franchise, they claim that they love the movies because “everything is connected.” No, it’s not. Just because a flashback makes a reference to a one minute scene from another movie, it does not necessarily mean there is a strong connection between the two. Aside from the first “Saw” movie, the rest lacked logic. Somewhere in the middle the central theme was lost. The victims were led to believe that they could get out of the traps. In reality, the possibility of escape was zero. How can we root for the character if we know she’s doomed? But I digress. “Saw 3D,” directed by Kevin Greutert, was plagued with clichés. From the cops’ arrival three seconds prior to the gruesome kill to a foggy night when something bad would eventually happen, it was one disappointing scene after another. The only comfort I found was to laugh at the ridiculous situations the characters found themselves in. I particularly enjoyed the scene of the woman, equipped with a shrill voice and in charge of public relations, who had a fish hook (along with a key necessary for her escape) stuck in her stomach and Bobby, using a string, had to pull it out of her mouth. It was bloody, flinch-inducing, grimly ironic, and fun to watch. Throughout the years, the franchise earned the label of “torture porn.” I thought it was appropriate. The acting was as bad as the ones seen in the very best pornographic films. I had to wonder where the casting directors found the actors. Maybe the actors knew the material was egregious but they just needed a big break. Who could blame them?

Survival of the Dead


Survival of the Dead (2009)
★ / ★★★★

George A. Romero’s tired “Survival of the Dead” started off with two groups of people on an island with a vastly different approach in terms of dealing with the zombies. Group A, led by Kenneth Welsh, wanted to kill the zombies immediately while Group B, led by Richard Fitzpatrick, wanted to train the zombies to eat things other than humans. The first scene depicted Group A being exiled from the island. Cut to the soldiers (Alan Van Sprang, Athena Karkanis, Stefano DiMatteo) meeting a kid (Devon Bostick) as they attempted to decide their next destination. Some wanted to go North while the other said South but it didn’t really matter because we all knew they would end up on the island. I will always thank Romero for making a big impact in the horror genre for the classic “Night of the Living Dead” but what he needs to do now is to stop making these limp and cliché-ridden sequels. The questions that were posed about the way the living dealt with the dead and fellow living people were painfully pretentious and heavy-handed. The two old men with polarizing opinions about what to do with the zombies felt contrived. At one point, one of them stated that they’ve been rivals ever since the school yard. I thought they were immature, selfish and weren’t as strong or macho as they wanted others to believe. With the amount of arguing they had throughout the picture, I was surprised they weren’t killed off in the very beginning. I found nothing inspiring from “Survival of the Dead” because it simply featured a group people making one stupid decision after another. There was nothing scary about the zombies because they were slow-moving and the make-up was so obvious that it borderlined camp. Furthermore, it did not have a firm grasp on delivering tension that lingers. Too often did it rely on the score to tell us what was scary or amusing and I did not appreciate being spoon-fed what to feel and think. I wanted scenes where we were forced to follow a character in a dark, tight spaces, and all we could hear were silence and the character’s footsteps. It should have given us more scenes we could relate to whether there was a danger of a zombie attack or not. There was not one character in this film that I could root for because it spent too much time tackling trite moral questions instead what it meant for these specific characters to survive in world where hope seemed like a thing of the past. Even more disappointing was the fact that it didn’t even have that much blood. If one is looking for some scares, intelligence and creativity, I suggest to stay away from this generic supposed gorefest.

The Back-Up Plan


The Back-Up Plan (2010)
★ / ★★★★

Jennifer Lopez had been absent from being a female lead actress for quite some time so I was really looking forward to Alan Poul’s “The Back-Up Plan.” Zoe (Lopez) made a proactive decision about having a kid via artificial insemination because she thought she would never find the guy for her. But the moment she stepped outside the clinic, she met Stan (Alex O’Loughlin), a nice, down-to-earth guy who wasn’t bad on the eyes with dreams of leading his own humble business. They didn’t get along initially but after a series of coincidences, the two eventually fell for one another. While I did like the two characters because they were charming and had undeniable chemistry, the material was just not funny. Some aspects of the film that were supposed to be funny but actually dead on arrival include the Single Mothers and Proud support group, Zoe’s incredibly transparent friends, and its lack of commitment in dealing with the serious questions about being a single parent. There were moments when Zoe had a chance to think about her future and whether she really wanted to stay on the path she had chosen but as soon as mood turned a little too serious, the movie would cut to a different scene and deliver slapstick infantile comedy. Not only did it take me out of the moment but I also felt emotionally cheated. The picture also lacked focus. I got the impression that the material was supposed to be from a mother’s perspective but it eventually lost track of its vision by establishing a series of scenes when Stan would meet a stranger at a park and discuss the struggles of fatherhood. While it was nice on the surface, I thought it was completely unnecessary. I already liked Stan and hammering the point that he was a good guy left me impatient. For me, I just saw it as another excuse to not deal with Zoe’s increasingly difficult preganancy, physically and emotionally, as she struggled with trusting Stan to stick around because the father and her child were not biologically connected. I think the movie would have been so much better if it had decided to take either the comedic or dramatic route. In an attempt to balance both, it managed to excel at neither path because every single step was formulaic and uninspiring. In the end, the elements of true exploration about how it was like to be a middle-class single mother were there but it tried too hard to be everything at once. The message of the film was vague–assuming that it wanted to communicate something in the first place. But then again maybe it just wanted to be a typical and too safe a romantic comedy.

Post Grad


Post Grad (2009)
★ / ★★★★

Directed by Vicky Jenson and written by Kelly Fremon, Alexis Bledel stars as Ryden Malby, a recent college graduate who planned out her entire future well before high school. (Which isn’t really a stretch from her very lovable character Rory Gilmore on “Gilmore Girls.”) Unfortunately, things didn’t quite go as planned when she found herself being unable to get a job because of the fierce competition in the job market. This movie had the potential to be really good because of its modern way of approaching one of the most common questions of recent college graduates: Will I be able to immediately get a job after college? I thought the first twenty minutes was strong because it dealt with that particular issue head-on. It may not be incredibly realistic but at least it tried to be relevant. However, the deeper we got into the picture, the movie suffered because of bad writing and the material easily succumbed to eyeroll-worthy typicalities. Ryden had to choose between her kind-of boyfriend (Zach Gilford) who was torn between law school and music and the exotic guy next door (Rodrigo Santoro) who seemed to have his life together, deal with her eccentric and sometimes funny family (Michael Keaton, Jane Lynch, Carol Burnett), and question where her future was heading. All those distractions certainly did not distract me from the fact that the writer ran out of creative and meaningful ideas to really tackle the issue of unemployment after college. I liked the movie best when it focused on Bledel’s struggle in trying to define her career and encountering her rival (Catherine Reitman) from time to time. It’s a classic case of having emotional intelligence (Ryden) versus lacking one (her rival); it was so frustrating to me because the elements of making a smart movie were there but the writers didn’t take full advantage of putting them together in an insightful manner. I felt insulted that the film threw clichés right at me. I couldn’t care less about the kinda-sorta boyfriend and the sexy guy next door because if I wanted to watch a movie about that, I’d probably go see a film based on a Nicholas Sparks novel. I couldn’t care less about the family either because their side stories didn’t add up to anything. The performances were mediocre at best but I didn’t mind much because I was more concerned about how it was going to approach the main issue. For a character who was supposed to be prepared to face the world (with enthusiasm to spare), the movie felt unprepared to discuss the real issues. The writer and director should’ve assumed that smart people would see this film. Maybe then they would’ve challenged themselves not only to challenge us but also inspire.

Leap Year


Leap Year (2010)
★★ / ★★★★

A woman (Amy Adams) in a relationship with a cardiologist (Adam Scott) for four years thought that he was finally going to propose to her to get married. But since that wasn’t the case, she decided to fly to Ireland on a whim to surprise her husband-to-be and propose to him on a Leap Day–which she was lead to believe to be an old Irish tradition. But things didn’t go quite as smoothly as she had planned because even though she didn’t get along with a charming man (Matthew Goode) who agreed to take her Dublin, she started falling for him (and vice-versa) because he was everything her boyfriend was not: simple, didn’t let her get away with being a brat and someone who had her back when it mattered most. Directed by Anand Tucker, “Leap Year” was pretty much the same kind of romantic comedy released every month (more like every week) but I ended up somewhat liking it because I love Adams and Goode in just about every movie they star in. They both had this strange chemistry even though all they did was bicker and ended up in the most unfortunate situations. In a way, they were perfect for each other because she was too controlled and she had a list on what she wanted in life, while he was a person who was fine with wherever the wind took him. It also helped that he was a bit brooding but that darkness I felt wasn’t really explored. My main problem with this film was its script. I thought the dialogue lacked another dimension–it was too simple and there were times when I felt like I was watching an episode of a television show than a movie. While it did have some cute touches such as Scott playing a cardiologist but he had no idea what was in his girlfriend’s heart, those weren’t strong enough to make this a superior romantic comedy. It didn’t have gravity so I wasn’t at all emotionally invested. The middle portion was a bit too much and it dragged on in what felt like an eternity. I wish the movie explored the Irish tradition a lot more instead of just showing Adams in the most embarrassing situations. By the tenth time things didn’t go her way because of the black cat that crossed her path, I pretty much got the picture and I wanted it to move on. Without its leading stars, I could easily have hated “Leap Year” because it didn’t strive to be something more. It was safe, sometimes sweet and often clichéd. I couldn’t help but think Adams and Goode were too good for the roles they’ve chosen to play.

The Grudge 3


The Grudge 3 (2009)
★ / ★★★★

“The Grudge 3,” directed by Toby Wilkins, started off pretty creepy as we got to observe Jake (Matthew Knight) being committed in a mental institution under the care of a psychiatrist (Shawnee Smith). We then cut to the siblings (Gil McKinney, Johanna Brady, Jadie Hobson) who were taking care of the apartment complex where Jake and his family used to live. Just when I thought that this second sequel will be better than “The Grudge 2,” it became bogged down by the conventions of the horror genre. For instance, a character deciding to enter a dark apartment from which a strange noise could be heard, a character having a moral dilemma concerning her family, and the all-too-obvious false alarms that might have worked if the material had a superior story. The bad and downright cheesy dialogue was just too much for me so when the characters were ultimately placed in front of the malevolent ghosts, I couldn’t help but not be scared. Admittedly, the shocks such as when the ghosts would appear out of nowhere which was aided by a booming score worked for me. But the aftershock was not present, an element that I believe is crucial for horror pictures. The side stories bored me half to death. The fashion model boyfriend (Beau Mirchoff), the Japanese woman with a mysterious link to the curse and the psychiatrist hoping to find some answers slowed the story down immensely. In my opinion, “The Grudge” is not all that scary. I’m surprised a lot of people embraced the first few movies (including the Japanese originals and the American version starring Sarah Michelle Gellar). There’s something about the entire franchise that seems redundant to me. I’m not entirely sure if it’s the fact that the curse is unbeatable or if it’s just the same kind of characters making the same bad decisions. If it’s the former, it begs the question of what the point is for watching the movies. And if it’s the latter, I can’t help but blame the lazy writing; it can’t be that difficult to establish a well-rounded character who we care for and root for up until the very end… and he or she not dying in the process. If you’re not a fan of the series in the first place, there’s absolutely no reason for you to see “The Grudge 3.” But if you are a fan and you do decide to see it, expect more of the same.

Valentine’s Day


Valentine’s Day (2010)
★★★ / ★★★★

“Valentine’s Day,” written by Katherine Fugate and directed by Gary Marshall,” was an ensemble romantic comedy with many high-proile names that followed the footsteps of films like “Love Actually.” There are only three things one has to know coming into this movie: all of the characters are connected in some way, it is at times unapologetically cheesy with its typical (but funny) one-liners, and it is a good Valentine’s Day movie to watch with friends or special someone. Even before the film was released, I heard a lot of negative comments about it because people are not keen on the idea of a movie capitalizing on a holiday that “isn’t even real.” I say get over it because such moaning will not stop movie studios from releasing movies such as this; it’s a business and no matter how much you complain, money is money at the end of the day. Personally, the main reason why I wanted to see this film was because some of my favorite celebrities were in it like Jennifer Garner, Julia Roberts, Anne Hathaway, Topher Grace, Ashton Kutcher (even though I change my mind about him quite often), and Bradley Cooper. From the trailers, I knew exactly what to expect and, surprisingly, it was much better than I thought it would be. Even though only two to four characters out of the twenty-one were fully developed (Garner and Kutcher as best friends failing to see that they were meant for each other; Hathaway and Grace as one lacking awareness of the other being a phone sex operator), it was fun to watch because it had a certain self-awareness–that none of it should be taken seriously because the characters’ lives revolved around falling in love. We are smart enough to know (or at least we should be) that the movie was simply trying to provide us an escape from our busy lives, whether our lives may revolve around our studies, our jobs, and countless other circumstances. As for the negatives, I wished that the main characters were cut down to fifteen. Even though I thought the scenes with Taylor Lautner and Taylor Swift were amusing, their scenes didn’t do much when it came to the big picture other than comment on the fact that teenage love based on supercifial similarities was a good foundation for a potential heartbreak. (Well, at least that’s what I got from it.) I also wished that Jessica Biel’s scenes with her eating junk food and being neurotic were cut, while preserving her “I hate Valentine’s Day” intact and ultimately seeing Jamie Foxx as a perfect match for her. My favorite storyline has go to be the one with Cooper and Roberts meeting on a plane. I still think Roberts is one of the finest actresses because she has a perfect way of portraying sadness in her eyes. It was pretty subtle but when Cooper voiced out his assumptions that Roberts was on her way to see her special man, that specific look that Roberts gave him immediately made me realize that it wasn’t the case. “Valentine’s Day” is indeed a typical romantic comedy but if you know what to expect and you have an open mind, you will have a good chance of enjoying this flick. But if you come into the film in a bad mood or expecting the worst, prepare yourself to analyze every single flaw and not enjoy the movie. In other words, save your money or buy yourself a box of chocolates instead. Maybe that will make you happy.