Tag: fashion

Picture Me: A Model’s Diary


Picture Me: A Model’s Diary (2009)
★★★ / ★★★★

Sara Ziff and Ole Schell’s documentary focused on Ziff’s journey as a fashion model from when she was eighteen years old on her first flight to Paris until she was twenty-three with prospects of attending Columbia University. Sara didn’t plan on becoming a model. Her parents valued education and she thought she was eventually going to follow their footsteps. But when she was approached by a photographer on the street and asked if she was a model, her life changed. Before she knew it, she was traveling all over the globe and getting paid $80,000 per job. But was the money worth losing her health and sanity? “Picture Me: A Model’s Diary” is the kind of film I would recommend to anyone thinking of entering the fashion industry. While it did acknowledge that being a model did have its perks like having a healthy salary (assuming the model eventually becomes an “it” girl which is a rarity), it was more concerned about showing us the ugly side of modeling and what magazines and television channels dedicated to fashion purposefully hide from us. By interviewing actual models, allowing their faces to be shown, and sharing their painful experiences with sexual harassment, the film successfully highlighted the exploitation inherent to the business. It also tackled issues like eating disorder and body image, drugs as a tool for a model to have the energy to keep going from one show to another, and modeling agencies hiring girls as young as fourteen years old but ultimately failing to protect them from elements that no young person should be exposed to. The latter was of special interest because the fashion industry loves to use very skinny and tall girls with no breasts and no hips because the dress just hangs on the body. But is it morally right to put such young girls in fashion shows where they were expected to get naked backstage in which photographers were free to take pictures and watch them undress? How is that different from watching child pornography? I admired the film because it wasn’t afraid to ask difficult questions. Furthermore, the documentary surprised me when it acknowledged how Ziff’s salary affected her relationship with her boyfriend (Schell) and her family’s opinion of her earning more money than them. On one hand, Schell was proud of Sara and said things like, “I’ve never held so much money in my hand!” On the flipside, there certainly was jealousy there. On their trip to Las Vegas, Sara asked her boyfriend why he never paid for her. He claimed that he did. Sara was reluctant to discuss it further because the camera was on. It was real and it felt incredibly awkward to watch. I do have favorite fashion models. I follow them on Twitter and read their blogs. With all their traveling, photoshoots, and runway work, it’s easy to admire them. But then there are moments when a model would Tweet about being so exhausted and not having eaten for almost twenty-four hours other than some candy or a piece of bread and a cup of coffee. Then I’m reminded of the models, both male and female, who decided to take their own lives. Maybe “being pretty and on time” is not the only requirement in becoming a model.

Heartbeats


Heartbeats (2010)
★★★★ / ★★★★

Francis (Xavier Dolan) and Marie (Monia Chokri) were best friends. They relished vintage fashion, enjoyed watching classic films, and quoting respectable poems. But those weren’t all they had in common. When they met Nicolas (Neils Schneider), a curly-haired blonde with a bone structure of a Greek god, the foundation of Francis and Marie’s friendship was tested. Written and directed by Xavier Dolan, “Les amours imaginaires” told its story through the senses. Slow-motion shots were prevalent for a reason. Francis and Marie’s rivalry was mostly shown in an insidious manner. It was only natural that two friends would hide their jealousy from one another to avoid hurting each other and themselves. The slow movement of the camera magnified the little things like a fake smile or a judging look. It also highlighted the pain when reality did not meet one’s expectations. For example, when Francis and Marie greeted Nicolas at a party, Francis noticed that Nicolas hugged Marie for much longer. Francis tried to play it off as if it was nothing but we knew better. The slow motion revealed to us the many questions in his head. Did the Adonis adore Marie more than him? Dolan’s use of bold colors was quite Almodóvar-esque. A scene shot in which red reigned supreme suggested fiery passion, perhaps even obsession. Green signified jealousy as Francis shared a bed with another man knowing that Nicolas and Marie were probably having a good time together. Lastly, I felt the need to point out the lack of a gratuitous sex scene. I admired that the material remained true to itself. The relationship between the trio wasn’t about sex. It was about the longing for someone who may or may not be willing to reciprocate. The fact that the writer-director chose to explore the funny, awkward, painful space between the three characters instead of allowing them to get together sexually proved to me that he was confident with his project. However, what I found less effective were the scenes that involved broken-hearted romantics who pondered over men and women who hurt them. I felt like I was in group therapy where no one made sense. Instead of relating to them, I ended up somewhat disliking them. Most recalled waiting for someone they were interested in and the person being late for over thirty minutes. It was suggested that they felt used waiting when the relationship ultimately didn’t go anywhere. If I was supposed to meet someone for the first time and he or she was thirty minutes late, that person could forget about it. I was there on time so I wouldn’t place the blame on myself. Either those scenes should have been excised or someone should have criticized their way of thinking. Despite its weak miniature intermissions, “Heartbeats” pulsated with creativity. I was addicted to its beauty.

Zoolander


Zoolander (2001)
★★ / ★★★★

A syndicate of fashion designers assigned Mugatu (Will Ferrell), a fellow successful fashion designer, to find an extremely dim-witted male model and brainwash him to assassinate the Prime Minister of Malaysia, the man who would be responsible for passing laws against child labor. Mugatu thought Derek Zoolander (Ben Stiller) was perfect for the job. Zoolander was blessed with great bone structure but he lacked brain power. The poor man-child couldn’t even spell the word “day” (he spelled it “d-a-i-y-e”). Written and directed by Ben Stiller, “Zoolander” was an effective spoof of the fashion industry when its humor wasn’t all over the place. Strangely enough, it had a one-dimensional main character but it worked because he was supposed to be unaware about everything that was happening around him. Much of the film played upon the stereotype about models being dumb and self-centered. For instance, Zoolander claimed he wanted to find meaning in life so he decided that he would establish a center for kids who wished to learn. However, Zoolander didn’t know the first thing about charity or education. His hypocrisy was wild but still amusing to watch because we knew he meant well. There were two scenes that were downright hilarious. The first was Zoolander’s reaction to Mugatu’s model for the children’s center. The man-child was at the forefront; it was as if he had no concept of representation, something that children normally learn during an early age. The other was the walk-off between Zoolander and his blonde rival named Hansel (Owen Wilson). It was cheesy, ridiculous and completely unnecessary, but I couldn’t help but smile because the lead actors and the spectators were obviously having fun. I could just imagine how many takes it must have taken the actors to complete a scene as they struggled to keep a straight face throughout the farce. I do wish, however, that there were more models that were featured. Milla Jovovich was great as Mugatu’s villainous assistant with an edgy haircut and Tyson Beckford milked every second he was given during the walk-off. I wouldn’t have minded crazy Tyra Banks appearing out of the blue and lecturing how important it was to “smize” (smiling with your eyes). There were also some surprising appearances from a young (and barely recognizable) Alexander Skarsgård and David Duchovny, an expert in delivering lines in a monotonous voice but still keeping us interested. “Zoolander” lacked in story and character development but it had memorable lines and manic energy which helped the picture stay afloat. It’s one of those movies I won’t watch for a long time but when I do see it playing on cable while flipping through the channels, I couldn’t help but sit down and enjoy the ride.

Pirate Radio


Pirate Radio (2009)
★★★ / ★★★★

British rock and pop music had very little exposure on the airwaves despite their undeniable popularily so the colorful crew members (Bill Nighy, Philip Seymour Hoffman, Chris O’Dowd, Nick Frost, Tom Brooke, Tom Wisdom, Rhys Darby, Katherine Parkinson) on a ship decided to broadcast songs every hour of every day. Back in the mainland, England’s minister (Kenneth Branagh), along with his minions, tried to come up with ways to make such broadcasts illegal. Watching this movie was strange because I thought the plot was somewhat weak and unfocused. However, I couldn’t help but love it because the characters were interesting even though some of them were more like caricatures, the humor had a healthy dose of rudeness and crudeness but was never truly offensive, it consistently inspired me to guess what random event would transpire next and, best of all, it showcased my favorite type of music. Essentially, the picture made me want to live in 1960s England so I could be around wicked fashion, freewheeling individuals willing to experiment, and great music that fully defined a generation. Since I felt like the movie was a tribute to people who grew up in the 60s and younger generations who wished they lived in the 60s, I hoped that, despite the movie simply wanting to have fun, the film focused more on Tom Sturridge’s character. He was a rebel (he got kicked out of school for drugs) yet we could not help but love him (he’s still a virgin but lacking experience with girls since he attended an all-boys school) because he was more sensitive and reserved than he let on. I wanted more scenes of him interacting with his neglectful mother (played brilliantly by Emma Thompson) and his supposed to love interest (Talulah Riley). Furthermore, I wanted to see more of his struggles concerning a lack of a father figure. The elements that could contribute to being alienated–and therefore turning to rock and roll–were present but the movie failed to look beneath the surface and offer insight that could surprise or even us. I believe that if “Pirate Radio,” written and directed by Richard Curtis, had a more defined emotional core, it would have been stronger because the risks it had taken would have had stronger payoffs. A movie about sex, drugs and music will fail to grow beyond the obvious if it does not have the heart and the energy to construct three-dimensional characters and storylines. It is particularly difficult for ensemble films but Curtis managed to be successful in “Love Actually” and “Four Weddings and a Funeral.” Nevertheless, I’m giving “Pirate Radio” a recommendation because I appreciated its gesture to fans of British pop and rock and roll. The film was a nice escape because nowadays I can’t even turn on the radio without wanting to bash my head against the wall.

Eleven Minutes


Eleven Minutes (2008)
★★★ / ★★★★

This documentary, directed by Michael Selditch and Robert Tate, was about Jay McCarroll, the winner of the first season of the internationally successful “Project Runway,” and how he and his crew (working with him for free) put together all the elements to make a fashion show. The fashion industry being a cutthroat world, the question was whether he would succeed or fade into obscurity. I have never seen an episode of “Project Runway” so I didn’t know who Jay McCarroll was. I decided to see this film because, even though I’m more interested in male and female models, I wanted to learn more about the behind-the-scenes elements and what it took to create such amazing clothes come fashion week. I must say that this picture did not disappoint because I felt like it really immensed itself in the many levels of frustration involving things like the right products not being ordered, working with difficult fabrics, people stressing out because nothing seemed to be going right, people flaking out, determining what was sellable and what wasn’t and a whole lot more. I think if I were put into their world, I would have no idea what to do or how to even start. Granted, I don’t have the amount of experience that they have but even if I did, I still think it would be a very daunting task to put together a fashion show, especially if it’s a designer’s first “official” collection. But I liked that the movie was also about McCarroll’s struggle to step out of the shadow of the show that put him on the radar. Even though McCarroll projected this huge, scandalous personality, there were moments when it was easy to see the panic in his eyes and the questioning whether he and his team would be able to pull through. The film was very dramatic and I loved it because it put me in the edge of my seat. Basically, this movie was eye candy for me because I loved clothes. I really wanted those pants with the hot air balloon designs and the huge alien sunglasses. I had a sneaky feeling that I could rock those walking down the streets. If one is interested in fashion but has not seen the show, I don’t think it would be a problem because the documentary’s goal was to show that McCarroll and “Project Runway” were two completely different camps (even though he clearly showed his appreciation toward the television show). I certainly learned a lot more than I thought I would such as the length of time to put together a collection, the importance of business knowledge in the fashion industry, dealing with the unknown elements and just rolling with the punches.

Sex and the City 2


Sex and the City 2 (2010)
★★★ / ★★★★

It’s been two years since the first highly successful “Sex and the City” movie and the same amount of time had passed since Carrie (Sarah Jessica Parker) and Big’s (Chris Noth) wedding. Written and directed by Michael Patrick King, the four best friends–Carrie, Samantha (Kim Cattrall), Miranda (Cynthia Nixon) and Charlotte (Kristin Davis)–decided to go to Abu Dhabi for an all-expenses-paid trip because they figured they could use a break from their respective battles regarding career, marriage, having kids, and menopause in New York City. As usual, hilarity and drama ensued when the girls visited bars, talked about sex and faced their problems before heading home. Although not as glamorous as the first (though it certainly did try), I enjoyed this installment because it took us somewhere new, featured a culture other than New York City’s, and there were moments of real sensitivity such as when Miranda and Charlotte talked about their frustrations about work and raising kids. I liked that it didn’t try too hard to top the first movie except for the very cheeky, self-aware, over-the-top gay wedding (with Liza Minnelli singing and dancing to “Single Ladies”) in the first twenty minutes. However, there were some elements that I felt were unnecessary like the appearance of a former lover (John Corbett) that was solely and conveniently designed to make Carrie realize how much she really loved Big and how petty she was for worrying about becoming a “boring couple.” Most of the lessons were pretty obvious (at least to me) but the main reason why I’m a fan is because of the fashion and the glamour. I guess most people don’t realize that the whole thing is supposed to be a farce. I mean, who in their right minds would wear designer clothing in the middle of the desert? It irks me when I read reviews from both critics and audiences concerning the movie’s characters being shallow and the plot being unrealistic. But I guess the joke is on them if they come into the movie expecting the events to reflect real life. For me, “Sex and the City 2” delivered the goods because I got exactly what I signed up for: about two and a half hours to escape my problems and realize how good my life is in comparison. At first glance, these women might be bathing in jewelry, expensive clothes and ridiculously well-designed apartments but they have so much unhappiness in their lives. Sometimes, they even create their own problems in order to make their lives more interesting. As for those who claimed that the movie was politically incorrect, I say it’s nothing new. In fact, the television show flourished because it was exactly that–politically incorrect. “Sex and the City 2” is a good movie to watch with your best gal friends because it’s not just about romantic relationships but also friendship. I just wished that the guys (David Eigenberg, Evan Handler, Jason Lewis) were in it more so we could see things from men’s perspectives from time to time.

America the Beautiful


America the Beautiful (2007)
★★ / ★★★★

I was reluctant with giving this documentary a mediocre rating because I did enjoy watching it. However, as a movie that tried to explore the issue about the American society’s standard for beauty, I felt that the arguments were all over the place and sometimes contradicted itself. Written and directed by Darryl Roberts, he mostly targeted the fashion industry, its unrealistic expectations when it comes to its models and the messages that they knowingly impart on people, especially children, on what is considered beautiful. For me, one of its biggest flaws was that it failed to admit to itself that the fashion industry is, in fact, a business and a good one at that. When it makes the argument that the industry treats its models like nobodies, that’s not anything new or insightful (at least for me because I’m familiar with fashion to an extent) because the models work FOR the fashionistas and they ARE products that needed to be as glamorous as possible so that money would be made at the end of the day. Placing most of the blame on the fashion industry is a bad move because there are other types of media out there that are arguably more influential (like music artists and music videos). The movie also tackled what was shown on television and magazines. Now, I think it did a pretty good job showing younger people perusing through magazines and pointing out the media’s unrealistic expectations on how to have the “right” look. However, I thought the film became evasive once again because it didn’t really explore or even mention personal responsibilities. An interviewee made a good point about the act of choosing to open up a magazine but it was as if as though Roberts had already put the interviewee under a negative light so what the interviewee said was pretty much thrown away the minute she stopped talking. I was very alarmed by this because when Eve Ensler (“The Vagina Monologues”), from the opposite spectrum, was being interviewed about the media and its effect in society, I got the feeling that the director wanted us to listen to her and really think about was she was saying. Granted, what she said about the media’s subtle ways of influencing people was indeed quite smart. However, my point is that the documentarian was obviously biased. I would have given this movie a less forgiving review if it wasn’t for Gerren Taylor’s journey from being a frontrunner to becoming the next supermodel to “just another model” who can no longer get booked (especially in Paris) because she was “too fat.” Personally, I think she’s thin. You don’t have to major in Biology to be able to tell that a girl who is six feet tall and has a waist of 96 centimeters is skinny. (The agencies wanted her to be at most around 90 centimeters.) This documentary had its ups and downs but I’m giving it a mild recommendation because either way, one will have a strong opinion about it when it’s over.

A Single Man


A Single Man (2009)
★★★★ / ★★★★

Tom Ford’s first feature film “A Single Man” embodied beauty from the inside out. Colin Firth plays an English professor who recently lost his partner (Matthew Goode) for sixteen years and is contemplating suicide. We get to observe what he does by himself from the moment he wakes up and how he interacts with others, such as his long time friend (Julianne Moore) next door, a Spanish stranger (Jon Kortajarena) and a student (Nicholas Hoult) who shows interest in him. We also got a chance to hear his self-deprecating thoughts and see tender fragments of the past when his lover was still alive. I love how this film felt more European than American. When it comes to its aesthetics, I was mesmerized by how everything seemed to glow due to the perfect lighting, how the wardrobes (with perfect creases at just the right spots) perfectly reflected the era, how the close-ups of the actors’ faces gave us information beyond what was said, and how the presence (and absence) music highlighted the emotional rollercoaster that the lead chaarcter was going through. Firth was simply electric. I totally forgot that I was watching him because I’ve never really seen this side of him before. I’ve seen him excel in romantic comedies but never have I seen him so controlled, so sad and so conflicted. There were times when tears started welling up in my eyes because I completely sympathized with what he was going through. Not only did he lose the person he loved as much as he loved himself (or maybe more), he lost a sense of security. At one point in the film, he lectured to his class about fear and it said so much about his own psychology. Goode was so charming, it was easy to see why Firth was so in love him. Moore was also sublime as an aging woman who still had feelings for Firth but had to control herself because she knew about his lifestyle. The way she hid the pain from her husband leaving her and her son not caring about her by immersing herself in alcohol and make-up was quite moving. I also loved Hoult as the student who saw profound sadness in his professor. (Admittedly, I thought his American accent was a bit off but maybe it was because I was so used to hearing his real accent in “Skins.”) His swagger was just so appealing to me; I couldn’t take my eyes off him. Lastly, the appearance of Kortajarena shocked me in so many ways because I was used to seeing him in high fashion photographs. Even though he wasn’t in the movie much, an acting career is a possible road for him. Ford highly impressed me because this was his first time directing a full feature film. The complexity in which he balanced the picture’s emotions and looks really drew me in–a quality that is sometimes absent even with the most experienced directors. I’ll definitely be on the look out for Ford’s next project. “A Single Man” is an ambitious film with tremendous and sometimes lowkey performances. It may not be the best film of the year but it certainly is one of the finest.

The September Issue


The September Issue (2008)
★★★ / ★★★★

Anna Wintour, the extremely influential editor of Vogue magazine, stated it perfectly in the very first few minutes of this documentary: Most people are scared of fashion and that’s probably why they make fun of it. Personally, I don’t think fashion is a ridiculous subject at all because it covers every aspect of beauty–something that is very important to me–not just when it comes to the clothes but the attitude that comes with them. Directed by R.J. Cutler, he documented all the hardwork, the conflict, the stress and the funny moments of what it took to release the September issue of Vogue. Two people are at the forefront: Anna Wintour and Grace Coddington, the editor and the creative director, respectively. I love that the movie covers the history of the two so we get some sort of idea where they came from and what it took for them to be where they are now. Although Wintour and Coddington have very different personalities, both of them are aware with how brilliant the other person is. Instead of competing with each other, they constantly push each other to be more critical and to continue to redefine beauty. While Wintour is truly a very intimidating ice queen, she’s not a total diva like how fashion editors were presented in motion pictures. She has her more tender moments, especially when she spends time with her daughter. On the other hand, I found Coddington to be very admirable because she’s not afraid to push for what she wants to be included in the magazine even if Wintour says “No” to her ideas time and time again. She’s a romantic and she remains to be a sweet individual despite the harsh realities of the fashion industry. While the two giants do have their disagreements, they share one crucial bond: They are very passionate with what they do and they want the magazine to be at its best. I was so engaged with this movie because there were times when I agreed with Wintour and there were times when I agreed with Coddington. I found it fun to see which photos would make it to the magazines, which was really hard at the same time because the photographs were stunning. This documentary is obviously targeted for people who are interested in fashion. However, for those who could care less about fashion should see this as well because it will undoubtedly show them that fashion is not a joke (though sometimes it can be). Like other more traditional jobs, it requires a lot of long hours, heartbreaking rejections, stress due to everything not going according to plan, and best of all, a thick skin.

Valentino: The Last Emperor


Valentino: The Last Emperor (2008)
★★★★ / ★★★★

Over the years I’ve grown to love the fashion industry so watching this documentary about the legendary Valentino Garavani was a real treat. I was fascinated with watching him handle situations when people did not quite reach his vision. That frustration sometimes ended up in heated arguments and sometimes they ended up with a joke or a simple snide remark. The passion Valentino had about fashion sometimes took its toll with the people around him, especially his long-time business partner and lover Giancarlo Giametti, but if it weren’t for his persistence and perfectionist nature, his creations would not have been the same. I liked that Matt Tyrnauer, the director, took some of the picture’s time to go back into the past and tell his audiences where Valentino came from and how he met some of the most influential people in his life. I was so engaged when the legendary designer talked about the many inspirations he had from films and movie stars when he was around thirteen years old. And when asked by a reporter if he dreamed about being anything else other than designing for women’s clothing, there was something brilliant and amusing with the way he said his one-word answer. I’m glad that this documentary didn’t quite focus on all of Valentino’s accomplishments (although I wouldn’t mind watching that documentary if one decided to take on the project). The majority of it was about his final couture show, which was beyond extravagant, and the media’s ever-annoying questions on when he would finally retire. I’ve seen a few runways and shows but nothing comes close to the elegance of his models, the ravishing sets, and the inspired clothings. Every image of the film looked like candy I wanted to touch and relish. “Valentino: The Last Emperor” would most likely not reach the mainstream because it’s geared more toward fashionistas. However, if one is generally interested in beauty, or even better, the passion and effort to make something beyond exquisite and divine, this is definitely the one to see.

Gia


Gia (1998)
★★★ / ★★★★

I was deeply touched by this biopic about a supermodel named Gia Carangi (Angelina Jolie) back in the 1970’s and 1980’s. Throughout the picture, I felt that her story was very personal because we got to see her evolve from a rebellious kid who was abandoned by her mother to a stunning supermodel who everyone wanted to worked with. At the same time, we also got to see her cocaine addiction, failed relationships and connection with others, and the eventual decline of her health because of AIDS. I’m glad that this film did not particularly glamorize the fashion world. In fact, I got a feeling that it was almost against it–as if it was one of the main reasons to blame that finally drove Carangi over the edge. Gia was far from a perfect person and therefore not free from blame but she had crucial moments when she took responsibility because she really did want to change. I admired the scenes when Jolie was posing in front of the camera looking extraordinary but such scenes also had voice-overs of what the photographers, the crew, and the other models’ real thoughts about Gia. It shows that something beautiful on the outside doesn’t necessarily reflect what’s on the inside, which I thought culminated when one of the women confronted Gia with such anger during one of the drug addiction sessions concerning the lies–on how to look like, how to act, and how to live one’s life–presented by the glossy fashion magazines. I also enjoyed the fact that Gia’s relationships were highlighted throughout the film: the mother who uses her as an accessory, who’s always there when things are good but almost never there when things are bad (Mercedes Ruehl), the loyal friend she met right before she was discovered and was there with her until the end (Eric Michael Cole), the agent who she saw more as a mother-figure (Faye Dunaway), and her on-and-off girlfriend who always wanted Gia to be the best she could be (Elizabeth Mitchell). While most people I know chose to see this for the nudity by Jolie, I have to say that this film goes beyond issues of the flesh. There’s a very real story and powerful lessons to be learned here; in fact, to be honest, the “sex” scenes are not that shocking to me because I’ve seen all kinds of movies with all kinds of sexual acts. For me, the sole purpose of watching this picture for the nudity is a sign of disrespect for Jolie’s acting abilities and Gia’s memory. Directed by Michael Cristofer, “Gia” is a triumph on multiple levels (especially Jolie’s acting) and should be seen with an open mind and sensitivity.

Cowboys & Angels


Cowboys & Angels (2003)
★★★ / ★★★★

The premise of “Cowboys & Angels,” directed by David Gleeson, was a shy and a bit naive 20-year-old (Michael Legge) who moves into the city because he wishes to have more excitement in his life. While looking a place to live, he gets paired up with a gay fashion student (Allen Leech). I’m glad this did not turn out to be one of those movies where the main character meets someone gay and realizes that he, too, was gay. In fact, I’m glad that this film wasn’t just about one thing. There’s something very modern about it; I felt like I watching a movie from the perspective of a real twentysomething. It was able to balance several subplots with ease: Legge’s frustration with being laughed at by girls whenever he shows interest in them, his inner conflict between being a civil servant or a student in an art school, his blossoming friendship with Leech, his unattainable crush (Amy Shiels) who has a history of dating women, and his temptations toward drugs to soothe his loneliness. Right from the get-go, I was interested in getting to know the lead character because he seemed to have this inner charm that most people failed to see (maybe it’s because of his lack of sense of style?). I thought the best parts of the film were the scenes when he would try to make a connection, sometimes to the point of borderline desperation, to the point where I just felt bad for him. I remember thinking, “Aww, I’ll be your friend!” because it was easy to tell that the constant rejections were eating him from the inside. I also enjoyed the scenes between Legge and Leech just hanging out in their apartment. They had this sort of bromance going on and it was really cute. That scene when Leech told Legge, “I’m going to do to you what I’ve always wanted to do ever since I laid my eyes on you” (or something along those lines) was really funny. I thought this film was going to be one of those thoughtless LGBT films but it turned out to be pretty unpredictable. If you enjoy LGBT films, see this movie if you can because it just might surprise you.

Confessions of a Shopaholic


Confessions of a Shopaholic (2009)
★★★ / ★★★★

You know, I’ve got to say that twenty minutes into this movie, I thought it was going to be just another shallow chick flick about a woman, played by Isla Fisher (“Definitely, Maybe,” “The Lookout,” “Wedding Crashers”), who liked to shop for expensive clothes and eventually fell in love with a guy who speaks with a European accent, played by the very charming Hugh Dancy (“Beyond the Gates,” “Ella Enchanted”). Yes, that was the basic premise. But then the last forty minutes of the picture arrived and it convinced me that it wanted to be something more. And it succeeded on multiple levels. When all of the main character’s lies and credit card bills finally caught up with her, there was an inherent sadness about her whole predicament. I was convinced that she genuinely did want to change, but like an addict, she kept going back to her old ways despite the advice from her family and friends. I’ve read some critiques that the tone of this film was uneven. Strangely enough, that’s what I liked about it. The first part was more comical and blasé because it intended to establish a character who was very energetic and had a real passion for fashion. The second part was more about her insecurities, conflict with her inner demons (and bill collector played hilariously by Robert Stanton–that elevator scene was absolutely brilliant), crumbling relationships with the people who are most important to her, and the things that she had to do (no matter how much it pained her) to stop drowning in debt. Directed by P.J. Morgan (2003’s “Peter Pan” and “My Best Friend’s Wedding”–another film that was surprisingly effective), “Confessions of a Shopaholic” has a little bit of edge just below that pink, glittery surface. I also liked the fact that the romance between Fisher and Dancy was always secondary. Their scenes were a nice break from the money issues and I could not help but laugh during their dancing scene. Though they did have some chemistry, I’m glad that Harvey chose to focus more on the lead’s addiction. I also very much enjoyed the supporting characters such as Krysten Ritter, Joan Cusack and John Goodman as Fisher’s best friend, mother and father, respectively. If the film had less slapstick and a stronger core, this probably would have had a pretty powerful punch considering that most Americans are now wary of the things they buy due to the failing economy.

Brüno


Brüno (2009)
★★★ / ★★★★

I think people’s claims that this movie was “provocative,” “unnecessary,” and “crude” should pass as compliments because it was what Sacha Baron Cohen (as the lead character) wanted to achieve. Directed by Larry Charles, the picture tells the story of the recently fired Austrian television reporter named Brüno and his aspiration to become the most popular Austrian since Hitler (his own words). In his quest to achieve his dream, he visits celebrities and politicians for interviews ranging from Paula Abdul, Harrison Ford, to Ron Paul. He also had the bravado to visit the Middle East and interview two men from extreme political parties currently at war with each other; not to mention visiting the home of a terrorist and throwing insults like he was asking to get hurt. If those weren’t enough, he also ended up going to a swingers party, to Alabama in the middle of nowhere, and to a group of people who “converted” homosexuals into heterosexuals. And believe it or not, there were still a handful of things that I haven’t mentioned. Not everyone gets satire. This film satirizes the fashion industry, celebrities from behind the cameras as well as those in the focus of the tabloids, to the very same people who choose to become mindless drones of the television, trying to shape their lives into what’s currently “in” or “hip.” I also liked the fact that it made fun of people who claim to know what they’re talking about when they really don’t (that scene with the two blondes was a riot) and it critiques overbearing parents who desperately push their children to superstardom no matter what the cost. If one really looks into it, there’s a certain thought that was put under the farcical (and downright hilarious) façade that it tries to market. In a way, this movie holds up a mirror to the American society and the very same people who react negatively toward the movie without strong, well thought out reasons are the ones who are being made fun of. And the funnier (or more tragic) thing is, they know it’s all true. The second half was more about Brüno’s homosexuality and how people in less liberal (to say the least) people in America reacts to it. Yes, the character is extreme but I doubt the reactions of such people would have varied that much differently if he wasn’t as “flaming.” At the end of the day, ignorance is ignorance and hatred is hatred. I had a really good time watching this film despite its flaws because it has a certain sharpness to it that I couldn’t help but admire. People say “Boycott this!” or “This should be rated NC-17!” All I can say is that they need to watch more movies and smarten up a bit.