The Hangover Part II (2011)
★ / ★★★★
Two years after a bachelor’s party turned into horrendous but hilarious mess in Las Vegas, Phil, (Bradley Cooper), Alan (Zach Galifianakis), and Doug (Justin Bartha) headed to Thailand to see Stu (Ed Helms) get married to Lauren (Jamie Chung), despite the father of the bride’s disapproval of the groom. Two nights before the big day, the four friends, along with Lauren’s sixteen-year-old brother, Teddy (Mason Lee), each quaffed a bottle of harmless beer at the beach. The next day, Phil and Alan woke up alongside Mr. Chow (Ken Jeong), an international criminal, with Doug and Teddy missing. Like last time, the party had no choice but to retrace their steps, find the persons of interest, and get back to the wedding in time. The cardinal sin that “The Hangover Part II,” written by Craig Mazin, Scott Armstrong, and Todd Phillips, committed was underestimating their audiences’ capacity to appreciate a sequel that, in the least, tried to be original. I had no qualms about the characters making an utter fool of themselves by getting into the most ridiculous situations involving Russians and their pet monkey, prostitutes with something unexpected in their panties, and Paul Giamatti being devilishly magnetic as a crime boss, but giving us a facsimile of its predecessor was not only lazy on the filmmakers’ part, it was also quite pessimistic and insulting. Given that the first film was such a success nationally and internationally, one would expect that the writers would at least try to come up with something different so that, after watching the final product, we would be begging to see more. The characters weren’t allowed to move past their adventures in Vegas and I wondered, with great frustration, why not. Alan kept bringing up what had happened in Vegas two years ago in almost every other scene. It was counterproductive because instead of drawing us into this specific new adventure and slowly revealing why frolicking all over Thailand was special in its own right, referencing to its counterpart forced us to compare analogous scenes–this one overwhelmingly inferior. The jokes ranged from bad to completely absent. I didn’t see what was so funny about smoking monkeys and ten-year-old kids engaging in underaged drinking. Nor did I recognize why the characters eventually broke out in song instead of just engaging in silence. At times, scenes with a poverty of words can work given the right timing and direction. These guys embodied hedonism which, in reality, almost always comes with a price. Instead of being boisterous jerks all the time, stereotypically American in that they had no regard or respect toward other cultures, why not allow them to sit and consider the fact that perhaps their heedlessness led them exactly where they should be and deservingly so? “The Hangover Part II,” clumsily directed by Todd Phillips, was a comedy that was diffident in terms of dealing with real emotions. Sure, it was about having fun and getting into trouble afterwards. But the filmmakers had forgotten that their project was about friendship, too. From what I saw, these guys were not worthy of each other’s friendships. Then why should they be worthy of our time?
The Guard (2011)
★★★ / ★★★★
When a man was found dead in an apartment, Sergeant Gerry Boyle (Brendan Gleeson), along with McBride (Rory Keenan), a cop from Dublin on his first day of work in the small town, was called in to investigate. Boyle surmised that the murder involved the occult due to the mysterious number painted onto the wall next to the body and a pot placed between the man’s groin. Meanwhile, an FBI Agent Wendell Everett (Don Cheadle) was brought in from the United States to stop crooks (Liam Cunningham, Mark Strong, David Wilmot) from intercepting five hundred million dollars worth of cocaine. Inevitably, the two crimes were related so Boycle and Everett were forced to work with each other despite a very offensive and awkward first impression. Written and directed by John Michael McDonah, “The Guard” was uproariously funny mainly because of Boyle’s foul mouth. He was unable to keep his thoughts in his brain as long as he felt he had something to say. His racist remarks were very offensive, like publicly saying that he thought criminals only consisted of black people, but since he lived his entire life in a relatively isolated town in Ireland, he wasn’t even aware of his indiscretions. Yet his ignorance was no excuse. From the way the comedy was executed, we laughed at him because he didn’t know any better, not because his claims necessarily had merit. On the other hand, Everett was the humorless straight man who just wanted to get the job done. He was professional, charming, and patient but such qualities were tested whenever Boyle was around. Imagine being forced to work with someone you don’t like, but you need that person to achieve the same goal. As the Irishman and the American engaged in verbal sparring over drinks, the criminals almost did all the work so that they would eventually get caught. Because of this, the picture adopted an unconventional pace. We knew that the criminals’ and cops’ paths would eventually cross. Interestingly, it was actually the criminals who found Boyle first instead of the other way around. What I liked was the fact that the crooks weren’t just bad. They were bad and very funny. The small surprises made a lasting impact without coming off as forced. The film was also effective when the unlikely duo was apart. While Boyle’s interactions with the little boy (Michael Og Lane) with a pink bike and dog was rather whimsical, the scenes with his dying mother (Fionnula Flanagan), who lived in a care home, were funny and at times heartbreaking. The time they spent together showed us where Boyle got his fiery personality from and his overall capacity to do good. Just because he had a proclivity for spitting out racial slurs, it didn’t mean that he was incapable of being good person and a good son. What “The Guard” needed to be truly incendiary were more scenes of uncomfortable tension. When one of the cops accidentally encountered the bad guys, the camera remained a few feet away. The lens should have been up close to the cop’s face because he knew as well as we did that there was no possibility that the crooks would let him walk away alive. They had half a billion dollars to lose. Many men kill for much less.
Get Him to the Greek (2010)
★ / ★★★★
Aldous Snow (Russell Brand) was a rock star at the peak of his career but the negative reviews of his most recent album called “African Child,” labeled as offensive and racist, forced him to retreat from the spotlight. Enter Aaron (Jonah Hill), an intern for a major record company, when he was assigned by his boss, the tough Sergio Roma (Sean Combs), to take Aldous from England and accompany him to the Los Angeles Greek Theatre for a comeback concert. This proved to be a difficult task because Aldous loved to party, do drugs, and deviate from the original plan. “Get Him to the Greek,” directed by Nicholas Stoller, was hilarious during its first thirty minutes. Celebrity cameos seemed to come from everywhere; I liked it best when I didn’t know what hit me and I was forced to think, “Did that just really happen?” Unfortunately, the rest of the picture failed to measure up. Although there was mayhem left and right, the chaos wasn’t interesting because it had the same type of humor all the way to the finish line. I didn’t mind that it was raunchy. I laughed at some scenes like when Aaron felt forced to become a drug mule at the airport. I understood that it wanted to poke fun of stars like Britney Spears with their intense relationship with the media and their fans. It also wanted to make fun of us for liking bad pop music reflected by Aldous’ ridiculous song lyrics. Eventually, I realized there was something missing. The picture had to draw a line between fun and serious issues. It had the capacity to change things up as Aaron was forced to be in increasingly uncompromising situations. A person recently plucked from an ordinary life, despite the glamour of the world of celebrity, would eventually question whether it was ethically and morally right for him to enable an artist struggling with an addiction. Toward the end, it attempted to tackle the issue but it felt forced because the journey that Aldous and Aaron took together wasn’t particularly meaningful. They shared some drugs and they eventually learned (or thought they learned) to be comfortable with each other to the point where they agreed to a threesome, but there was not one conversation when they connected as equals. It was always about Aaron catering to Aldous’ fragile ego and that wasn’t friendship. It didn’t even work as a story about a fan and the person he looked up to because moments after Aaron met Aldous, he was perfectly aware that the Aldous in his records didn’t reflect reality. He came to terms with it right away. “Get Him to the Greek” would have been a stronger film without the redemption arc involving the rock star supposedly overcoming his addiction. Because when it tried to be sensitive, it just didn’t feel genuine.
★★ / ★★★★
Russ (Tom Cullen) was a gay man with mostly straight friends. After attending his best friend’s party, Russ decided to go to a gay club with hopes of hooking up with a stranger. After attempting to make eye contact with several men as a signal he was willing, Russ eventually encountered Glen (Chris New). Morning came and the two engaged in their first real conversation over coffee. They liked each other enough and thought what they had was worth exploring. But, initially without Russ’ knowledge, Glen was supposed to head to Oregon after the weekend and live there for two years to study art. They now had to make a decision whether their one night stand was viable enough to turn into a relationship. Written and directed by Andrew Haigh, “Weekend” could easily, even understandably, appeal to those craving for realistic stories about gay lifestyles. There’s just not that many of them. Great ones are rarer still. The casting was good given that neither looked like a chiseled Adonis. In fact, their appeal was in embedded in the ordinariness of their looks. In return, we were forced to look within–their personalities, motivations, and perception of the world. Given that neither looked like a steroid-obsessed, stereotypically dominant beefcake or a stick-skinny twink, the sex scenes, mostly unnecessary, held a certain honesty: the unshaven corners, fat hanging about the torso, and wrinkles unhidden by make-up. Having the camera so up close to their bodies and faces, we could easily get the sense that the two had just had sex. Like in reality, the morning after is usually far from glamorous. Most of the time, you just want to jump in the shower to wash the night away. However, despite my best efforts, I felt no spark between Russ and Glen. It was critical because they were supposed to be increasingly attracted to one another over the course of the film. The reasons why they wanted to take their relationship on another level weren’t at all clear. Glen was condescending to Russ. He was repulsed by the fact that Russ didn’t like to kiss or hold hands in public as heterosexual couples generously often do. Because of this, he was convinced that Russ was not comfortable with being a homosexual. I was extremely annoyed with what he represented because he felt it was his prerogative as an out and proud gay man to constantly remind people that he was gay. To him, being ostentatiously gay was tantamount to being comfortable with his sexuality. No, it’s not. It means you’re being obnoxious. In the end, Russ subtly accepts that ideology. The supposedly sweet ending left a bitter taste on my lips. It sends the wrong message to audiences, especially to LGBT youths who are still deciding how they want to live their lives. Furthermore, the constant usage of drugs was an issue I had due to its mixed messages. I found it ironic that the two men were supposed to be connecting with one another through sex and deep conversation while snorting cocaine and smoking marijuana. How can you really get to know someone while being under the influence? All the discordant factors and hypocritical implications made me feel angry. While I understood Russ’ loneliness and the dangerous lengths he would go to assuage that emotion, the rest lacked practicality. It’s a shame because I do have friends like Russ who engage in casual sex with strangers and experiment with all sorts of drugs. The film implies that such a lifestyle is A-OK. It’s certainly not okay when you hear news that your friend has contracted HIV or died from overdose.
Requiem for a Dream (2000)
★★★ / ★★★★
Sara Goldfarb (Ellen Burstyn) lived by herself and she spent most of her days watching television. When a caller informed her that she had been selected to appear on television, she became obsessed with the idea of losing weight and wearing her beautiful red dress for the occasion. Her first attempt at dieting didn’t work so she saw a doctor. The so-called doctor prescribed colorful “diet pills” which, unbeknownst to Sarah, were amphetamines. Her addiction reflected that of her son’s (Jared Leto), his best friend (Marlon Wayans), and girlfriend (Jennifer Connelly). Directed by Darren Aronofsky, the film’s approach was to showcase drug addiction as a slow descent to hell. Heavy-handed with its themes, it showed its characters in utter physical and mental pain with little hope of rehabilitation and a better life. On one hand, some of the scenes were well-made. Sara’s hallucinations of the refrigerator attempting to get close to her signified Sara’s subconscious need to eat. It was terrifying, especially when the fridge would appear out of nowhere, but at the same time I found it darkly comedic. I relished the scenes between Burstyn and Leto particularly the one when the son finally found the time to visit her lonely mother. Combined with Aronofsky’s sublime direction, Burstyn’s performance was electric when she expressed to her son what being on television really meant to her. Even I can admit I was on the verge of tears because I really cared for the character she created. Lastly, there was a shot the defined Leto and Connelly’s relationship. When they were laying next to each other on the bed, presumably after sex, there was a split-screen and the camera was fixated on their respective faces. It was meaningful to me because the message I extracted from it was despite the fact that they took up the same space, were looking at each other, and the words they uttered were directed at one another, it wasn’t a meaningful relationship because there was a disconnect between them. As long as they were under the influence of drugs, there would always be that disconnect because the need for the drugs would always be more powerful than their need for each other. That one scene was probably one of the most powerful in the film even though it didn’t show any drugs, just two people talking. I wish the rest of the picture was more like that. In other words, what the film desperately needed was subtlety. Most of the time, I felt like Aronofsky was hitting me over the head with a mallet every time he wanted to get a point across. It wasn’t necessary with people, like me, who can think for themselves and are aware of the pros and cons of drugs. His technique here would most likely appeal more to high school students. Based on Hubert Selby Jr.’s novel, “Requiem for a Dream” was nonetheless a powerful head trip. It was a classic case of unhappy individuals attempting to find happiness elsewhere other than within.
Middle of Nowhere (2008)
★★ / ★★★★
“Middle of Nowhere” was an indie drama about two teenagers who wanted to escape their lives. Dorian (Anton Yelchin) was sick of his wealthy family and their expectations of his eventual responsibility of running the family business. A problem child, he was sent to his uncle to learn discipline. Grace (Eva Amurri) wanted to go to college to pursue her dreams of becoming a doctor but was unable to get financial aid because her mother (Susan Sarandon) took out unpaid loans under Grace’ name. The mother claimed that the answer to all of their problems was for Grace’ younger sister (Willa Holland) to enter the modeling industry. Dorian and Grace worked at a waterpark and eventually became partners in selling cannabis. I enjoyed the film mostly because of the performances. Sarandon was great as the mother who didn’t quite know how to be a responsible parent. I understood the many predicaments she was in, especially her financial instability, but I didn’t pity her because she was supposed to be the leading figure in the family. Unlike her eldest daughter, she wasn’t focused in accomplishing something she was responsible for. Yelchin and Amurri were equally interesting as teenagers whose lives were in a standstill. I admired that the script infused sexual tension between them but they never got together in a sexual way. That was important because their relationship was about business first, friendship second, and everything else was tertiary. Instead, a potential beau (Justin Chatwin) for Grace entereed the picture. They seemed like a perfect fit because he was worldly, smart and had substance. But was he too good to be true? As usual, I enjoyed Yelchin’s cooky side. A less charming actor would have looked like a complete fool while dancing in a laundomat. Amurri successfully made me want to root for her character. Although she was tough and sometimes cold, I understood that she had to be because she learned at an early age that nobody would ever just hand her what she wanted. I saw some similarities between the two of us but she definitely had a more unpleasant background. Unfortunately, the film hit a few bumps on the road. Half-way through, I began to feel as though the melodrama had completely taken over. I kept waiting for the tone to change up, surprise, and offer some laughter, especially during the scenes of Grace and Dorian’s odd occupation, but it remained painfully one-note. Written by Michelle Morgan and directed by John Stockwell, “Middle of Nowhere” had a good amount of intelligence and heart but I wished it was more playful with its tone because with such a somber material, the line between self-reflection and narcissism was often crossed.
Love and Other Drugs (2010)
★★ / ★★★★
Charming sales representative Jamie (Jake Gyllenhaal) was fired from his job because his manager caught him having sex with a woman, who happened to be the manager’s girlfriend, at their work place. Belonging in a family with connections, Jamie didn’t stay unemployed for long. Jamie’s brother (Josh Gad) almost immediately snagged him a job as a pharmaceutical representative for Pfizer. While Jamie was busy handing out drug samples to various clinics, he met Maggie (Anne Hathaway), a woman inflicted with Parkinson’s disease. At first, it seemed like what Jamie and Maggie had was like any other one-night stand both of them were accustomed to. Eventually, they had to face the fact that maybe their relationship was heading somewhere deeper than they had expected. Based on a book by Jamie Reidy and directed by Edward Zwick, “Love and Other Drugs” was borderline unlikable because I almost found it pretentious yet eager to please. Let’s take the scenes that involved nudity. First and foremost, it felt nothing but a gimmick to attract younger people to go see the movie. The movie showed breasts and buttocks. Everything else was strategically hidden either by another body part or a nicely placed camera angle. It was distracting. Instead of being in the moment, I ended up thinking about its techniques’ false progressiveness. I have no problem with nudity, so if the filmmakers were to have a dozen scenes that ranged from meaningless sex to making love, they should be fearless in going all the way and leaving commercial reservations out the door. Instead, there was an awkward feel to the film. I had a feeling that it wanted to be a mix of an art house drama and a very commercial romantic comedy and it was neither. To a lesser degree, there were some scenes that I thought needed to be reshot because there were times when the acting felt disingenuous, especially by Hathaway. I’m not sure if she felt uncomfortable or she was just trying too hard. Either way, it didn’t feel natural. But the picture had bright spots. I appreciated the smaller and quieter moments like when Maggie asked Jamie to name four positive things about him. He couldn’t do it and there was a sadness that permeated from the screen. Some people just don’t know what they offer the world and that’s unfortunate. Another standout was when the film showed us how Maggie was really like without the drugs that masked her condition. It was a true turning point for the two lovers. “Love and Other Drugs” was like all pills: It had positive qualities but it also had pesky side effects. If it had trimmed its running time by getting rid of most scenes that involved the annoying brother and Jamie sweet-talking his way into women’s panties (we get it–he’s a stud), its heart would have been more defined.