Waiting for Forever (2010)
★ / ★★★★
Will Donner (Tom Sturridge) didn’t have a home. He wandered from place to place, often hitchhiking because he didn’t have a car, because he was set on following Emma Twist (Rachel Bilson), an actress and a childhood friend, like a love-sick puppy. People were often touched of his stories about how much he loved Emma and how he planned on marrying her. The fact was the two haven’t spoken to each other since they were kids. Written by Steve Adams and directed by James Keach, if I could describe “Waiting for Forever” in one word, it would be “misguided.” I wasn’t convinced that it was a love story even though it tried desperately to be one because the sentiments were heavily one-sided. Emma, like myself, was creeped out by Will because his rationalizations involving why they should be together felt completely detached from reality. The screenplay begged us to feel sorry for him instead of identifying with him. His parents died when he was little, his brother (Scott Mechlowicz) looked down on his nomadic lifestyle, and he always wore the same pajamas. I guess he didn’t have any other clothes. His excuse was the pajamas felt comfortable. I found it insulting that the majority of the women melted after hearing Will’s stories. I agreed with the men: Will needed some help, possibly a one-on-one session with a counselor or a psychiatrist. It was difficult to judge him this way because the filmmakers confused child-like and childish. An adult’s child-like quality tends to momentarily sprout from its hiding shell. It happens without a person being aware of it. An adult is childish when he jumps on chairs, tables, and counters just to be “cute.” Will was certainly the latter. Sturridge was partly to blame. He needed to tone down his character’s ticks so we could focus more on his personal struggles instead of how hyper he was or how well he could juggle. The only believable people on screen were Emma’s parents, Richard (Richard Jenkins) and Miranda (Blythe Danner). Richard had terminal illness and Miranda hid her sadness by overcompensating with happiness. There was dramatic weight in the way they interacted with each other. Some words were ugly, some looks were undeserved but I felt like there was history between them. There was a memorable scene in which Miranda finally exploded at the man she no longer thought was the man she married. The way the camera was so close to their aging bodies and the way the purging of emotions was handled, it felt like I was intruding in their very personal moment. I wished the movie had been about them. I liked the last line in the movie because the joke had a punchline. That and the painful experience of constantly wondering why the characters chose to do what they did was finally over.
★★★ / ★★★★
The wife of a television producer had passed away when their son was still very young. Mr. Aoyama (Ryo Ishibashi) raised his son on his own and had grown accustomed to the loneliness of being a single parent. His son, Shigehiko (Tetsu Sawaki), noticed that his father seemed a bit sad for quite a while so he suggested that Mr. Aoyama should find a girl and get married. With the help of his co-worker (Jun Kunimura), the two men held an audition for a movie. Out of all the girls, Mr. Aoyama was most interested in Asami (Eihi Shiina), a girl who was passionate about ballet but had given it up due to a bad hip. He didn’t know she held a very dark secret. Based on a novel by Ryû Murakami and directed with great control by Takashi Miike, the neat thing about “Ôdishon” was if all the scenes involving the psychosexual horror were taken out, it worked as a solid romantic drama. The first half of the film consisted of tender moments between father and son, like fishing and sharing meaningful conversations over dinner, and funny scenes of various women auditioning for a lead role. There was a natural progression away from the light ambiance to a truly horrific finale. There were red herrings thrown at us to give us the impression that there was something seriously wrong about Asami. Despite his friend telling Mr. Aoyama that he felt something not quite right about the girl, the widower was intent in forming a relationship with the woman. He read her essay, which was a part of her resume, and he wanted so badly to believe that he knew her, that she was right for him. He saw that, like himself, she had been damaged by the past and that commonality was, from his perspective, deep enough for the two of them to want to share a life together. It brought a new definition to the saying that love is blind. He took a blind eye to her lies and so he failed to see her true intentions. The gruesome scenes toward the end had real potency. The picture earned showing us the grotesque images because of its steady rising action. In some ways, I wanted to see the gore and the mutilation. But the funny thing was, when I saw it, I almost immediately wanted to look away. However, I must mention some details that didn’t quite fit into the big picture. How did Mr. Aoyama, through a hallucination or dream sequence, learn the content of the bag in Asami’s apartment (or how her place looked like for that matter) when not once did he visit her place? It made me wonder that perhaps there was a missing scene prior to the third act. However, such details could be easily overlooked because the images that “Audition” offered were creepy and some were downright terrifying.
The Roommate (2011)
★ / ★★★★
Sara (Minka Kelly), a freshman in college, moved into her dorm but her roommate hadn’t move in yet so she decided to go to a frat party with the fun-loving Tracy (Alyson Michalka). When she got back, Rebecca (Leighton Meester) was waiting for her in the dark. A couple of days later, Rebecca began to get clingy. She went through her unsuspecting roommate’s possessions when she was alone in the room, waited for hours on end until Sara got back, and even answered Sara’s private calls. When Sara wanted to hang out with other people, Rebecca would mope about. She just wanted to be Sara’s only friend. Directed by Christian E. Christiansen, what “The Roommate” needed was inspiration and a spark of originality. It was stuck in tried-and-true formula of roommate from hell pictures and I was far from impressed. I was surprised that it didn’t take advantage of social networking websites, like Facebook and Twitter or even a blog, when Rebecca wanted to know more about Sara. I found it unbelievable that every time the psycho roommate wanted to know more about her prey, she would just ask in person. Sara, supposedly an aspiring designer, someone who could think outside the box, almost made it too easy for someone to be obsessed with her. It wasn’t creepy and so the momentum failed to build in a steady manner. The picture had many distractions but the one that tested my patience was Sara’s relationship with a frat boy by day/drummer by night boyfriend named Stephen (Cam Gigandet). There were too many make-out sessions and moments when they would look into each other’s eyes and smiled. It felt like some moldy, cheesy, unfunny romantic comedy. I expected them to be partners in researching what was wrong with Rebecca when Sara began to suspect that perhaps there was something seriously wrong with her roommate. Only toward the end did I feel like Sara was truly in danger and that, too, was disappointing because of the way the final confrontation was shot. Not only was it dark, the camera shook relentlessly and it was difficult to see who was throwing a punch. It didn’t help that Kelly and Meester looked very similar. Naturally, the two girls tried to fight over a gun. I didn’t care who would grab it first; I was too pre-occupied with disbelief that Sonny Mallhi, the writer, couldn’t come up with a better weapon for the two women to fight over. I got the impression that the filmmakers didn’t even attempt to give us something new and that upset me because I felt insulted. “The Roommate” was unabashedly lackadaisical and it was a rather empty experience.
★★★ / ★★★★
Based on the science fiction novel by Stanislaw Lem, “Solaris” followed psychologist Kris Kelvin (Donatas Banionis) to a space station orbiting a planet that had the strange ability to create bodies of human beings based on one’s memories while sleeping. I saw Steven Soderbergh’s film prior but there were very few similarities between the two. While both were purposely slow in pace, the classic “Solaris” was more concerned about specific details that aim to creep out its audiences. Despite its close to three hours running time, I was consistently fascinated with what was happening because of the images it had to offer. The first kind of image was what the audiences saw on screen. There was something genuinely unsettling about the planet’s human version of us. In this case, Kris’ wife Hari (Natalya Bondarchuk), who passed away years prior, was extracted from Kris’ memory more than once. Although she initially did not have any memory of who she was (she didn’t even know what she looked like until she looked in the mirror), she was a learning being, eventually able to mimic certain behaviors like sleeping or feeling guilt. She tried to be human but she simply wasn’t. She was eventually able to copy very human characteristics like selflessness but does that make her human? I noticed that even though the planet had the ability to replicate images from the mind, it managed to create incorrect details like a dress not having a zipper or a lake’s water not moving at all. The second kind image was in the stories the characters told. In the beginning of the film, a pilot described his experiences while exploring the planet. The way he talked about the evolution of the planet’s water and his eventual encounter with a giant baby was frightenening. His words were so alive, I felt like I was there with him. Directed by Andrey Tarkovskiy, “Solaris” successfully tackled questions about humanity through encounters that defied the norm. The filmmakers had a great challenge because they had to keep the material creative while not simply giving easy answers. In the end, I still had questions such as the filmmakers’ use of black and white in some scenes, their purposeful way of defying the laws of physics in specific scenes when we knew what was happening was occuring in reality and not in the mind, and the fates of the crew like amicable Dr. Snaut (Jüri Järvet) and practical Dr. Sartorius (Anatoli Solonitsyn). Despite my unanswered questions, I could not help but respect the film because it, too, treated me with respect. I watched it with a careful eye and it rewarded me with possibilities. Who’s to say that a planet like Solaris isn’t out there in the universe just waiting to be discovered?
Village of the Damned (1960)
★★★ / ★★★★
It was an ordinary day in an English village which suddenly turned extraordinary when the townsfolk fell asleep at the same time. Calls from people who wished to contact the villagers could not go through so they began to worry. Whenever someone from the outside crossed an invisible line, they, too, fell asleep. Officials concluded there must have been a force field or a biological agent involved that explained the strange phenomenon. When the villagers woke up, a few months later, the women made the discovery that they were pregnant. I found this movie fascinating because of its strong concept and consistency to keep me guessing. I admired it for not simply relying on the creepy blonde-haired children to generate chills. It actually took its time trying to explain the weird situation the village was thrusted into by monitoring women at various points in their pregnancies. We learned a handful of weird details even when the children were still in the womb such as their rate of development being faster than a normal human being which suggested, as my first hypothesis, that the kids may have been extraterrestrial by nature. But the picture did not give us defined answers. It asked questions like the children’s purpose, but the writers made an astute decision to simply offer the audiences several explanations and it was up to us which, if any, we wished to accept. The film constantly changed gears. When the kids were about three of four years old, led by David (Martin Stephens), son of a couple (George Sanders, Barbara Shelley) suggested to have been trying to conceive but to no avail, we learned that the kids had various psychic abilities. Paranoia covered the town like a permanent fog and the regular folks’ discrimination almost made me feel sorry for the kids. Wolf Rilla, the director, successfully tried to make us sympathize for the children so the material felt dynamic. Since they were so different, the people in the village did not quite know how to deal with the blonde-haired children. It was easy to relate the situation to the real world where educators struggle to find a way for gifted children to meet their true potential. The ostracization by their peers is another factor. “Village of the Damned,” based on John Wyndham’s novel “The Midwich Cuckoos,” had imagination but it did not result to gore or violence. The small details were the factors that sent chills down our spines. The story may have taken place in a small village but the ideas surpassed borders on the map–or in this case, force fields.
★★★ / ★★★★
Throughout my time in the university, about seven to ten people have asked me about Steven Soderbergh’s “Solaris” in hopes of confirming their opinion that the movie “sucked.” All I could tell them was I had not yet seen it but would be getting around to watching it sooner or later. In short, I thought it was quite compelling. Psychologist Chris Kelvin (George Clooney) was called by a friend (Ulrich Tukur) to go to a space station located along the orbit of planet Solaris. Strange things had been happening and he thought that Chris was the perfect person to solve whatever was going on. Naturally, I asked myself why the government didn’t intervene because taxpayers usually fund space explorations but I chose to overlook that lack of logic. When Chris arrived at the space station, dried blood was all over the place. Some crew members were dead and the two who were still alive (Viola Davis, Jeremy Davies) were locked in their respective spaces. Little did Chris know that the planet had to power to create a person the crew members loved most out of thin air (known as “Visitors”) via taking advantage of their subsconsciousness while they slept. In Chris’ case, Rheya (Natascha McElhone), Chris’ dead lover, woke next to him. This was a different kind of a science fiction film because the visuals were not at the forefront (although it still looked beautiful). It was very heavy on the dialogue which, understandably, irked a lot of its viewers. But that’s exactly what I liked about it. Even though the story was set in the future, it tried to answer timeless questions that the most influential philosophers discussed (or obsessed about) during their careers. For instance, do other people only exist through our minds and our memories of them? In that case, do we exist only through other people’s minds? With each passing minute, the stakes were that much higher as Rheya started to gain memories in the way Chris remembered the original Rheya. In other words, she slowly became more human-like. If they kill her, is it murder? We get to observe the protagonist struggle morally and psychologically because he blamed himself for the death of his wife. However, I wish the constantly-on-edge Davis was in more scenes. She was voice of practicality in the picture and I just loved the conviction she infused in her character. If I was stuck in a space station next to a creepy planet capable of producing clone-like creatures, I would definitely want her to be on my side. I highly enjoyed the film because it was able to frame paranoia in an effective manner without trying to be flashy with shaky cameras and other more mainstream techniques. It relied on its story and took its time to explore its themes. I appreciated that it treated its viewers with intelligence. Based on the novel by Stanislaw Lem, “Solaris” is a success because it reminds us that our lack of knowledge about outer space and its many potentials may be equivalent to the untapped abilities of our minds.
Black Christmas (1974)
★★ / ★★★★
A series of obscene phone calls terrorized a group of sorority girls during Christmas break. Little did they know that the person making the calls was hiding in their attic and he was just waiting for the right opportunity to kill them one by one. The three main girls were Jess (Olivia Hussey), reluctant to tell her boyfriend (Keir Dullea) that she wanted to abort their child, Barb (Margot Kidder), the one who did not seem to take anything seriously, and Phyl (Andrea Martin), the geek-chic with a funny haircut. I watched this film with incredulity. Chances are, if one had seen a lot of slasher flicks, one would not find anything particularly new from this picture. First of all, if I get multiple prank calls, I’l just unplug the phone. I’m not quite sure why such an action did not occur in the girls’ minds. The characters made one bad decision after another and I would not have put up with it if they weren’t so funny. I particularly liked the house mother (Marian Waldman) of the sorority who seemed to hide alcohol everywhere. She even used booze to wash her mouth after brushing her teeth! There were times when the comedic angle outshined the horror aspect which could not have been a problem for me if it wasn’t so hit-and-miss. At times I felt like it tried too hard to be amusing and it took me out of the experience. Like in most slasher flicks, the incompetency of the police force was highlighted. There was one obvious decision that was overlooked. When one of the girls from the sorority went missing, I was astounded when the police failed to search the sorority house from top to bottom. The girls had informed the police that the last time they saw the girl in question was when she headed upstairs, possibly to her room. A good detective knows where to start looking first. Since such an important piece was overlooked, I felt like the whole picture was merely a gimmick, to capitalize on the fact that the caller was actually in the house. Undoubtedly, “Black Christmas,” written by Roy Moore and directed by Bob Clark, influenced movies like Fred Walton’s “When the Stranger Calls” and Wes Craven’s “Scream” franchise. It did have its truly creepy moments such as the extended silent confrontation in the basement toward the end. I also liked the fact that certain questions remained unexplained so I could not help but think about it afterwards. But in the end, it felt too convenient. I’m just glad John Carpenter’s “Halloween” came out 4 years later to redefine slasher pictures or else “Black Christmas,” despite its good intentions, might have taken its spot.
Like Minds (2006)
★★★ / ★★★★
Written and directed by Gregory J. Read, “Like Minds” or “Murderous Intent” was about two boys in prep school who had a complex relationship. One ended up dead (Tom Sturridge) and the other was sent to jail (Eddie Redmayne) because evidence suggested murder. It was up to a forensic psychologist (Toni Collette) to figure out what really happened between the two and to try to gather evidence that could potentially allow the surviving boy to be released from jail. The film was something I had not expected. I’ve seen a number of movies about prep school and murder but I did not expect this one to be so involved in history and psychology. Since I had studied the latter subject, it was relatively easy for me to grasp what was happening on the surface. However, since my weakest subject was history, I found the discussion of the past somewhat confusing so I don’t think I fully saw the big picture. Having said that, the movie was full of tension and had a knack for delivering the unexpected. I thought it did a great job establishing the twisted relationship between Sturridge and Redmayne; they were interesting together but it was creepy at the same time trying to deal with a roommate from hell who had a penchant for dissecting dead animals. However, I wished that the picture had more scenes of Collette doing her own investigation instead of relying on the surviving boy’s stories. One of the best scenes was the climax in which she finally stumbled upon some evidence because she delivered subtleties on her body movements and facial expressions that went beyond the fact that she was scared and she wanted to get out of the situation as quickly as possible. What did not work for me was the detective (Richard Roxburgh) in charge of the strange deaths. I thought he served no purpose to the overall picture and he was the most one-dimensional character. Instead of helping out Collette’s character, he kept on wanting to get together with her and it was very distracting. “Like Minds” may be a small film and somewhat uneven at times but the mystery fascinated me and there was an intelligence behind the storytelling. The two boys did a great job playing predator and prey, especially Sturridge’s ability to shift from intense and piercing glares to blank but evil eyes. He reminded me of a more versatile and magnetic version of Robert Pattinson which amused me because I found out later that they were good friends. Fans of creepy, slow, sometimes disturbing psychological thrillers will most likely find “Like Minds” pretty enjoyable.
★★★ / ★★★★
I love spiders. I used to capture and raise them when I was a kid. When I was bitten, it didn’t stop me from wanting to capture more, make them battle, and observe the way they ate. In “Arachnophobia,” an undiscovered killer spider from Venezuela hitched a ride in a coffin to terrorize a small town in the United States. The killer spider mated with a typical house spider and lived in the barn next to the house that a doctor (Jeff Daniels) and his family recently moved into. It didn’t help that the doctor had a great fear for spiders. Despite my adoration (and respect) for spiders, the film gave me the creeps. The director, Frank Marshall, craftily balanced horror and comedy. As the picture went on, it became scarier but at the same time the laughs were that much more pronounced. The comedy scenes worked because it relieved a lot of tension such as when a spider would sneak up on someone taking a shower. John Goodman’s performance was a catalyst because his mere presence elevated the funny bits. The picture expertly and confidently took advantage of vulnerable situations such as when a character would reach into a cereal box and expect to get food or when they would sit in a toilet. I didn’t find those scenes cheesy because the film established how dangerous the spiders were within the first few minutes. But at the same time, we were aware that these spiders did not take pleasure in killing; their actions were simply means of survival and colonization. What impressed me most was the final duel between man and spider. The filmmakers did a fantastic job weaving three elements that scared people most: darkness, enclosed spaces, and bugs. It was terrifying to watch but I couldn’t look away because I wanted to see how the protagonist could wiggle himself out of another dangerous position. The scene was relentless. I caught myself holding my breath when the doctor did not know where the spider was and voicing out advice about what he should have done next to lure or trick the spider. The jump-out-of-your-seats moments were efficient. Lastly, but most importantly, the film had an after effect. After I finished the movie, I headed to the bathroom and from the corner of my eye, I saw a black figure on the floor. For a split-second, I thought it was a spider and I became very alarmed. For a person who normally adores spiders and then suddenly be scared of them, that’s when I know the film had done something right.
The Lovely Bones (2009)
★★★ / ★★★★
“The Lovely Bones,” adapted from Alice Sebold’s novel and directed by Peter Jackson, was about a fourteen-year-old girl (Saoirse Ronan) who was murdered by a child predator (Stanley Tucci). As years went by after her unsolved murder, the protagonist watched over her family (Mark Wahlberg, Rachel Weisz, Susan Sarandon, Rose McIver, Christian Thomas Ashdale) and the monster who killed her in cold blood. I’ve read a plethora of reviews claiming that this was a mediocre picture and was underwhelming. Maybe they expected too much considering Jackson’s power as a director but I thought the movie was above average. It felt painfully personal. I was moved when Ronan realized that she was dead but she was stuck between the real world and heaven. I thought it was very sad when she realized that her family was slowly being ripped apart after her death. Those dramatic elements worked for me because the exposition was consistently strong. It immediately made me care for the lead character because she wanted to do so many things in life. I couldn’t take my eyes off the fantastic imagery when Ronan lived in “the in-between.” I thought the images were magical, inspired and intelligent because the images she encountered almost always related to the things that were happening back in the real world. As great as the images were, I argue that they didn’t overshadow the picture’s emotional resonance. In fact, the imagery took the emotions to the next level. As for the villainous creepy neighbor, I thought Tucci was electrifyingly effective. Tucci excelled with his character’s eccentricities and the way he lured Ronan to her grave gave me the shivers. However, I thought the film came up short when it came to consistency. The last third lacked the momentum of the first hour and twenty minutes. About two-thirds into it, I started questioning when it was going to wrap itself up. Essentially, I think the movie would have benefited from a shorter running time. The scenes of Weisz’ struggle with the loss of her daughter (an emotional breakdown?) felt like it didn’t need to be there. I understood right away that everyone in the family was impacted by the tragedy so it didn’t need to hammer that point again and again. Luckily, Sarandon had a good amount of screen time to alleviate some of the seriousness by means of perfect comedic timing. If I were to describe “The Lovely Bones” in one word, it would be “misunderstood.” A lot of people thought that the CGI became the main focus and not the characters. I would advice those same people to watch the movie again and do what I did: ignore the fact that Jackson directed the film and swallow it as a “regular” film from a not-so-popular director. It may not have been as consistent as I would have liked but I thought it was able to deliver when it needed to.
★★ / ★★★★
I’ve seen a lot of really weird pictures but György Pálfi’s “Taxidermia” is probably one of the most bizarre. The story was about three generations of men: a hospital orderly who impregnanted a woman that had a child born with a tail, the child who grew up as a man who loved to participate in eating contests, and that man’s son (Marc Bischoff) who loved to preserve dead animal carcass. Although I thought all three were entertaining to watch (to some degree), it wasn’t until we got to Bischoff’s story that things picked up and really became engaging without sacrificing consistency and purpose. The common theme of this film was obsession and it nicely tackled the strange fixations that each of the characters had. At first I didn’t understand what was happening because the first twenty minutes subjected us to watch a creepy man spying on women while masturbating. I was aware that the film was supposed to be a dark comedy but those scenes made me wonder what the director was trying to portray. Were there symbolisms that he wanted us to realize in each generation or did he just create such images for mere shock value? I think it had elements of both; I may not have understood all of it because perhaps the cultural barrier was the problem (it was set in Hungary). Nevertheless, I was absolutely horrified when the camera would fixate on people eating like there’s no tomorrow and regurgitating the food they just ate. (It didn’t help that I like to snack while watching movies.) I was really disgusted but I couldn’t stop watching because I was curious what would happen next. Although the movie was far from anything I expected it to be, I’ve got to give it credit for doing something creative and unpredictable. This is definitely not the kind of film for mainstream audiences because it’s easy to label it as pointless or unnecessary. Speaking of, there were some scenes that depicted animal cruelty. I don’t mind much the taxidermy scenes but actually showing a live goat or a pig getting stabbed and things like that (you see the animals struggling) made me angry. I think those could’ve been taken out and the story wouldn’t have changed whatsoever. If you are feeling like watching something morbidly dark and funny in a very twisted sort of way, “Taxidermia” is a good choice because it wasn’t afraid to push the limits. Just don’t eat before watching the film.
The Stepfather (1987)
★★ / ★★★★
“The Stepfather,” directed by Joseph Ruben, stars Terry O’Quinn as a psychopath who goes from one family to another to play the stepfather. When the family he decided to stay with did not meet his idea of perfection, he killed them in the most ruthless ways possible. His new family consisted of a nice mother (Shelley Hack) and a troubled daughter (Jill Schoelen). The latter had a gut feeling that there was something seriously wrong with the new man in her mother’s life. Confiding to her psychiatrist (Charles Lanyer), she decided to follow her instincts and researched about the man who gave her the creeps. I thought I would like this movie more because I’ve heard a lot of good things about it such as being a hidden gem of horror of the 1980s. I found myself being slightly disappointed because while it did have tension, it didn’t have a good sense of rising action. Specificially, the picture would build and build but then it would die out again without some sort of payoff. The technique wore out its welcome and I slowly became frustrated because I could see its potential. O’Quinn was very convincing as a charismatic psychopath with a possible dissociative identity disorder. The scenes when he would talk to himself and let out bottled rage were disturbing yet I couldn’t get enough of it. The way the circumstances finally drove him over the edge was fascinating for me to watch. While I did expect the last twenty minutes to be gory and violent, I didn’t expect it to lack logic. The part that bothered me most was the daughter’s decision to run up to the attic instead of running downstairs to scream for help in the street. She was such a smart girl up until that point so her lack of logic bothered me. I also thought the bit about the detectives didn’t have any payoff. We get a couple of scenes that featured them trying to investigate but their storylines didn’t quite tie into what was happening with the family in focus. In order words, valuable minutes were wasted when it could’ve been used to generate more suspense and creative twists. “The Stepfather” is certainly not a bad movie but it isn’t a very good one either. It’s a nice film to watch on an uneventful night but I’ve seen better movies that pretty much followed the same formula. Some viewers claimed that the movie made them think but it didn’t require much pondering on my part. I thought it was a pretty straight-forward story about a man who was always on a brink of murder.
★★ / ★★★★
A deadly virus ravages the world in Àlex Pastor and David Pastor’s thriller starring Chris Pine, Lou Taylor Pucci, Emily VanCamp and Piper Perabo. The four struggling survivors of the pandemic agreed to adhere to several rules that they thought would ensure or at least maximize their chances of survival. However, when they ran into a man (Christopher Meloni) and his infected daughter (Kiernan Shipka) in the middle of the road, it seemed that nothing would go according to plan. From reading several synopses, I got the impression that this was going to be a zombie flick. It actually wasn’t because even though there was an infection (thanks to “28 Days Later”), the people who died did not rise from the dead and start chasing people. It was simple: you get the virus, you die. I was really into the first half of this picture because of the chemistry of the four main characters. They were all very different and I liked them because they weren’t afraid to have fun even though death was all around. I even thought to myself that I wouldn’t mind being stuck with them if there was a pandemic of such calamity in real life. However, the second half became a little too serious and the pacing began to slow down considerably. For instance, the extended scenes in the fancy hotel was completely unnecessary. I thought it would be a perfect opportunity to deliver the creepy atmosphere and maybe some disgusting rotting flesh because the place was huge. Unfortunately, the movie did not use that setting in its favor. The moral conundrums the characters were put into were interesting in the first half but they became heavy-handed during the second half. The decisions the characters had to make did not affect me in the slightest. They seemed like completely different people compared to the beginning. I felt like the Pastor brothers’ writing became preachy (pardon the pun) and it got stuck. It would have been nice if none of the four got infected because right from the very beginning, I just knew that some (or possibly all) of them would die. I could tell that the directors wanted to do something different so I didn’t understand why they didn’t risk it all. Nevertheless, I say “Carriers” is a decent Friday night rental considering the level of thought that was put into the material, the charismatic actors and the limited budget. One should not expect the movie to be a horror film (as I did). There were a couple of shocking scenes but that was about it so it really was more like a thriller.
★★ / ★★★★
Sam Rockwell stars as Sam Bell in “Moon,” written and directed by Duncan Jones, an astronaut who was sent on the moon by a company to gather precious gas that could solve the Earth’s energy crisis. Excitement came over him as soon as he realized that his three-year contract was about to expire in two weeks. However, his positive energy was quickly doused when he started hearing and seeing things that he wasn’t supposed to. I can’t help but feel very disappointed in this film because I saw so much potential in it. The feel of the picture very much felt like Stanley Kubrick’s “2001: A Space Odyssey,” but I appreciated the fact that it tried to bring something new to the table with regards to man’s relationship with machine (the super-computer named GERTY voiced by Kevin Spacey). I hate saying this about science fiction movies in general but I’m going to: it just didn’t feel real. I’m not talking about the visuals (which wasn’t that inspiring), I’m talking about how everything started to play out. For instance, when Sam realized that there was a clone of himself walking around, his reaction was very underwhelming. I don’t know about you but if I saw a copy of myself without my prior knowledge of its existence, I would freak out, throw things at it and attack it in every way possible (basically act like a crazy person) to get the upperhand. I won’t just sit there and play nice with it, especially when the copy is trying to bully me around. I also had a problem with its pacing. For a film that’s supposed to be full of wonder, mystery and surprising twists, it felt strangely stagnant. Once the clone was revealed, there wasn’t much to drive the story forward. Even their interactions weren’t really that interesting except that they seemed to have opposite personalities. The second twist regarding Sam’s life on Earth was sad but ultimately empty because I didn’t care that much about Sam. I agree with critics and audiences that it was eerie and atmospheric but that’s about it. I don’t see it as being a classic because the elements it tried to tackle weren’t fully realized. “Moon” felt like the SparkNotes version of a really dense material full of complex story arcs and mythologies. And it certainly didn’t have that wow-factor that could be found in sci-fi greats.