Winnebago Man (2009)
★★ / ★★★★
I’ve never heard of Jack Rebney and the viral video that made him infamous. I don’t actively search for viral videos because most of them feature people being hurt or humiliated. I don’t take pleasure in watching other people’s misery unless the material is fictional. If I do end up watching a viral video, it’s because either a friend sends me a link with an accompanying, “Watch this! It’s hilarious!” message or I’m at a friend’s or relative’s house and I have no choice but to watch a video they want to show because I don’t want to be impolite. So when Ben Steinbauer, the director, claimed that Jack Rebney was someone he looked up to, I was surprised. After all, how can one look up to someone based on a viral video? I was curious and I considered Steinbauer to be the subject as much as Rebney. The director searched for Rebney and it turned out that the man had isolated himself from society. He claimed to not know about his status as a YouTube sensation, but was he telling the whole truth? One of the documentary’s goals was to explore how Rebney felt about the video tape of him cursing like there’s no tomorrow because he could not deliver the lines correctly for the Winnebago commercial. It was able to touch upon the surface but I wasn’t convinced that Steinbauer went deep enough into the man’s psychology. In the end, I felt sorry for the subject which has been dubbed as The Angriest Man in the World. It was obvious to me that he wasn’t enjoying the process of being in the documentary because he hadn’t yet found closure about the past–the very reason that tarnished his reputation and thereby his decision to live in isolation. I felt his hurt and anger and it made me feel like the director crossed the line between respect and asking pertinent questions and causing further controversy. After watching the viral video, I didn’t find myself laughing too much. I chuckled about three times because Rebney had a knack for cursing like he abhored the world. But then I realized that what he was caught doing was completely natural. We all have different ways of venting our frustration. Some of us break down in tears, some of us internalize (my weapon of choice), and some of us express the frustration into apparent rage. Actors in Hollywood most likely are guilty of the same thing (may I remind you of Christian Bale’s rant?) but they aren’t as visible. So the way I saw it was Rebney was a product of an unfortunate circumstance. I wish Steinbauer had enough courage to confront the specific people who decided to release the behind-the-scenes video. The whole thing may have been a big joke to them but they essentially ruined Rebney’s career. I find that a lot more shameful than a man who was simply having a bad day at work.
Punch-Drunk Love (2002)
★★★ / ★★★★
Adam Sandler should star in more movies like this one because it’s a nice break from his monotonous, painfully obvious and predictable slapstick comedies. “Punch-Drunk Love,” written and directed by Paul Thomas Anderson, was about a small business owner named Barry Egan (Sandler) who fell for his sister’s co-worker (Emily Watson) after one of his seven sisters (Mary Lynn Rakskub) set him up because the sister claimed he lacked initiative. Meanwhile, Barry was caught up in a scam, led by Philip Seymour Hoffman, after he called a phone-sex line. I loved the movie’s dry sense of humor and lack of sentimentality. The romance between Sandler and Watson was offbeat at best; it was difficult to see what they liked about one another because both were so strange. Even though I did not necessarily relate with Barry, I was fascinated with his behavior when things were calm and the way he responded to certain stimuli. He was unpredictable. When challenged, he would either go on scary fits of violent rage or would run away like a mouse. I wanted to know if he had bipolar disorder or whether he just did not have a healthy outlet to release the frustrations he had about his life, especially the annoyances from her overbearing sister. I found Barry’s sister absolutely hilarious but I think if she was my sister, I would just go crazy. Furthermore, I liked how Anderson portrayed what family gathering was really like. In more mainstream projects, members of the family would sit on a table and have hush-hush conversations as the camera focused on the key characters. In this film, everyone gossiped, insulted each other insidiously, laughed at the top of their lungs to the point where one could barely hear his or her own thoughts. The scene was plagued with a loud buzzing sound which caught my attention because it was realistic. I wish the picture had more scenes with the family because it was a nice change of pace from Barry’s isolated space which had a lot of gloom. “Punch-Drunk Love” showcases Sandler’s acting muscles and I was happy to see that he tried to do something different. I did not expect that he was able to go head-to-head with Hoffman because Hoffman had such a presence about him in all of his roles. I expect that a lot of Sandler’s fans would find this movie somewhat distasteful because its humor almost always stemmed from self-loathing and repressed emotional problems which–let’s admit–can be depressing at times. However, I think it’s a smart movie that is willing to look beyond the idiosyncracies of its characters and focus on their more compelling angles.
★★★ / ★★★★
“Madeo” or “Mother,” directed by Joon-ho Bong, told the story of a mother (Hye-ja Kim) who would do anything to prove her son’s innocence (Bin Won) regarding a schoolgirl’s cold-blooded murder. Realizing that the police was not at all motivated to look into the case a little deeper, the mother did her own investigation about who the real killer was. Her first suspect was her son’s ruffian of a friend (Ku Jin). The look of the movie grabbed me instantaneously. There was something very poetic about the background imagery and the way it sometimes highlighted a character’s state of mind. My favorite scenes to look at were the shots taken outdoors when the mother was one with nature accompanied by music perfect for exotic dancing. Those scenes moved me because, as beautiful as the images were, my focus was on the mother’s facial expressions and body movements. By intently looking at her, I couldn’t help but feel her frustration, desperation and guilt. I am not quite sure that the picture started off well. The first twenty minutes felt like it was all over the place and I did not understand where the film wanted to go. However, it found its identity when the mother decided that she was going to perform her own detective work, specifically when she broke into someone’s home and found (what she believed was) a piece of evidence. I couldn’t help but care for her because she looked so frail and, more importantly, her unwavering conviction that her son was innocent. The last thing I wanted to see was her to be pushed around because she already looked as if she was defeated. I loved how the director framed the idea of truth and let it evolve naturally. Certain truths were true at a specific moment in time but then they changed five minutes later as new pieces of the puzzle were introduced. As a result, the movie was unpredictable and I was constantly questioning whether the mother was truly on the right path to earn her son’s freedom. The last few minutes were full of emotion. I was impressed with the way Bong dealt with the complexities of each emotion as the characters tried to deal with the final hand they were given. “Mother” is the kind of movie that is difficult to place under one genre. There were times when I thought it was a comedy (the beginning), a thriller (the middle), and a drama (the ending). It’s not the kind of movie that everyone will necessarily enjoy because the tone is vastly different compared to more mainstream projects. But what I can say for sure is that I thought the film was a rich morality story and a joy to watch.
La haine (1995)
★★★ / ★★★★
“La haine” stars Vincent Cassel, Hubert Koundé, Saïd Taghmaoui as a Jew, an African and an Arab, respectively, who come from the nonglamorous side of Parisian neighborhood. The premise of the film was essentially following the three characters in a span of a day–after a riot in which one of their friends was sent to the hospital–so we could see how they juggled the internal and external violence that faced them. I was impressed with this film because it dealt with the characters in painfully realistic ways without being too heavy-handed or a stereotypical “being in one’s shoes for a day” story. The three friends were so angry to the point where they couldn’t help but stir trouble wherever they ended up. Their personalities were explosive and unpredictable but just when we thought we had them all figured out, the material surprised us. It then begged the question of whether they could rise above the place where they came from; I could see that they wanted to change and that they were tired of having to be (or trying to be) tough all the time. It was the subtle scenes in which the characters expressed their concerns and sadness about where their lives were heading that gripped me until the very intense and memorable final scene. Even though there were a lot of meaningless fights and funny scenes at someone’s expense, I enjoyed the quiet moments when they would just sit on the train and not talk to each other or when they would just visit an empty shopping mall in the middle of the night. As alienated as they were, their frustrations didn’t hinder them from trying to live even if the paths they’ve chosen were roads that we necessarily would not want for them to take. Written and directed by Mathieu Kassovitz, he really had a knack for playing with the camera and delivering unique shots when something crucial was unfolding before our (and the characters’) eyes. He wasn’t afraid to take some risks and they paid off handsomely; the decision to shoot the film in simple black and white complemented the complex social problems (that we sometimes see in black and white) that the picture tackled head-on. Ultimately a movie about acceptance and corruption, “La haine,” also known as “Hate,” showed that a material does not need to be obvious or touching for it to teach a lesson about urban life. In some ways, the tone and focus somewhat reminded me of the unforgettable “Trainspotting,” only “La haine” was far less manic and more serious in its approach.
The Graduate (1967)
★★★ / ★★★★
“The Graduate,” directed by Mike Nichols, became a pop culture icon since its release so I just had to see it. I wasn’t impressed with it but I was satisfied because it had moments of genuine sadness inside of the comedic happenings on the outside. Dustin Hoffman stars as a recent graduate who we came to meet during a graduation party that his parents threw for him. He was deep in thought about something but we didn’t immediately know why. What we did know, however, was the fact that Mrs. Robinson (Anne Bancroft) wanted to have an affair with the twenty-year-old after he took her back to her house and had a drink with him. I didn’t expect this picture to be as mature as it was. In fact, I was expected it to be a slapstick or a gross-out movie of sorts. I really admired the way Nichols used Hoffman’s alienation to drive the story forward, often in unpredictable (and sometimes jarring) directions. When Nichols placed Hoffman’s character in that scuba diving suit, it was such a bold statement; even more daring was the decision to place the audience in the lead character’s point of view as he saw the world and familiar faces with such disconnect and great frustration. From that moment, even though I thought Ben was pathetic because he often whimpered his way through strange situations, I wanted to root for him. That scene was a stand out because it really captured the loneliness and the confusion that Hoffman was going through from the minute the film started to the subtle but brilliant final sequence on the bus. What didn’t work for me was the “romance” between Hoffman and Katharine Ross. I can understand that maybe it wasn’t supposed to feel real because the characters were young and perhaps didn’t know what they really wanted. It’s just that I think the movie would have been more effective (and I certainly would have cared more) if the passion felt genuine instead of just feeling like Hoffman was stalking Ross all over campus. Still, I thought the movie was strong because it was able to articulate the internal and external battles that the main character was going through. It was also difficult not to love the perfectly-timed soundtrack and it enhanced the experience instead of serving as a distraction like in a lot of coming-of-age movies nowadays that try too hard to be hip or cool. It’s easy to classify “The Graduate” as the movie where the main character had sexual affairs with a much older woman. I think it’s so much more than that; to me, it’s more about the temptations that the protagonist surrendered to because he ultimately didn’t know who he was. Since he didn’t know who he was, no matter what he did or what he accomplished, he couldn’t seem to feel happiness even at the most basic level.
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.
Where the Wild Things Are (2009)
★★★★ / ★★★★
When my two friends who are very different from each other told me that they didn’t enjoy the film, I knew it wasn’t going to be everyone’s cup of tea. “Where the Wild Things Are,” directed by Spike Jonze (“Being John Malkovich” and “Adaptation.”) and based on a children’s book by Maurice Sendak, tells the story of a boy named Max (Max Records) and where his mind goes after going through a very tough confrontation with his mother (Catherine Keener). But the frustration is deeper than it seems; his sister is growing up and he does not get the same kind of attention he used to, his mother has a new boyfriend and is very involved in her work, and he does not have many friends. He’s a sensitive little kid and even certain bits of information he learns from school (like the sun eventually stopping to give off light) gets to him. That loneliness and wanting to be noticed makes him very aggressive so the audiences get a lead character who is edgy but is someone who we can ultimately root for because we see the story from his perspective.
As a person who has taken courses on child psychology, I think the writing is exemplary. A lot of people may think that Max is just a kid who is self-absorbed and immature. But has anyone really met a nine-year-old who does not have any of those qualities? I can barely even name an adult who is not at times self-centered and lacking maturity. I think one of the main problems when audiences watch a movie from a child’s perspective is that they fail to consider that children think (and therefore act) very differently than adults. Children have yet to find their identities so they seem to be one thing one minute and be another completely different thing the next. That manic sense of energy should not be seen as being annoying but instead should be seen as a rite of passage. I mention this in my review because I think that all of these basic background infromation should be taken into consideration in order to (in the very least) understand Max’ situation and mindset. I found the lead character to be a very lovable person because he was strong enough to turn a very sad situation into an adventure. And to be honest, I could identify with him because I remember back when I was seven or eight years old when sometimes I wasn’t allowed to play with the other children outside so I turned to my toys and made up stories that reflected how I felt at the time. (I loved that scene when Records told Keener a story about a vampire who lost his teeth. It was a metaphor about infinite things and I was deeply touched.)
A friend of mine mentioned that the movie doesn’t really have a defined story. For me, there was: Max takes refuge into his imagination where he meets all these giant puppet-like creatures with very distinct personalities because he feels abandoned–that no one is even attempting to understand what he’s going through. Those creatures (Catherine O’Hara, Forest Whitaker, Michael Berry Jr., Chris Cooper, Lauren Ambrose, Paul Dano and James Gandolfini) represent all of the major personalities inside him which cannot yet be controlled because he hasn’t experienced life. I thought the varying ways the creatures interacted (and sometimes collided) was very insightful because, in psychology, there is a theory that our dominant personality is simply a combination of our many different (extreme) personalities. Sometimes, there happens to be an imbalance (also reflected in one of the creatures–bipolar disorder, perhaps?) which causes great conflict in how we think and ultimately view the world. And even if my interpretation is “wrong,” there are great movies out there that don’t really have set story that is easy to understand.
“Where the Wild Things Are” is the kind of film I’ll eventually really love with repeated viewings. Yes, it’s sometimes hard to sit through because it’s not the kind of children’s movie one would expect. While there definitely are cute images, Jonze took the material to the next level and it really delves into many emotions such as sadness, confusion, isolation, not being heard or considered an integral part of a group, anger, jealousy, and even depression. I loved the fact that it’s rough around the edges and far from a typical movie where everyone goes “Aww” and easily label it as a great movie. (In fact, we even saw the monsters’ dark sides… which was scary at times because they made it clear that they could eat people.) In “Where the Wild Things Are,” you would actually have to think a little bit, see what’s under the surface to truly realize its greatness. This is an intelligent person’s movie and if you don’t like to take the effort to see some parallels between Max’ reality and imagination, then this movie might not be right for you.
The Class (2008)
★★★★ / ★★★★
I thought “Chalk” was a realistic portrayal of the classroom environment but “Entre les murs,” also known as “The Class,” was grittier and far more realistic. Based on the novel and starring François Bégaudeau, this film was a docudrama about a teacher who tries to encourage fourteen- to fifteen-year-olds to be more passionate about learning via being honest with them and using various methods to find their strengths in a span of one year. However, this year was different because the kids he had last year were on the verge of growing up so, naturally, they began to question his different approaches and tried to constantly push him over the edge, blind to the fact that he was always putting his best intentions forward to try to make them more prepared for the future. This film is very difficult not to admire because it really captured how it was like to be in a classroom consisting on hormonal and highly unstable students. I was in high school three years ago and it brought back a lot of memories. I may not have had the same experiences as the students in this picture because I experienced both “advanced placement” classes and “regular” classes, but the conversations and dynamics in the classrooms were essentially similar. Seeing François Bégaudeau’s character reminded me of my best teachers in high school (unsurprisingly, my favorite classes: French and Psychology) because even though they always try their best and put on a mask that everything is okay, tiny cracks on their armors are sometimes seen and the frustrations leak out like a dam about to burst. I looked at the students who improvised most of the dialogue and I constantly thought that in less than five years, their outlook on education, ability in terms of social interactions and the overall concept of respect would totally be redefined to the point where they would look at this film and probably would not recognize who they were. I also found the interactions between the teachers and faculty fascinating. There were some scenes that suggested that they, too, were like children in the classrooms, which was a nice surprise because most American films about inspirational teachers have this message that teachers are always proper, always wearing decent clothes and always having that need to provide a big speech that would change everybody’s minds for the better. None or very minimal of that American formula was painted here. “The Class,” directed by Laurent Cantet, was a painfully realistic look at our educational systems and it shows that teachers need to be appreciated more even if their best efforts are simply not enough. (Don’t even get me started on how little they get paid for such an important and difficult career.) There was this scene in the end when one of the students confessed to the teacher that she didn’t learn anything throughout the school year, which totally broke my heart. As sad as it was, it’s more honest and more common than we can possibly imagine. That said, it shouldn’t scare us or defeat us; it should only inspire us to find other ways to accomodate such learners.
Gangs of New York (2002)
★★★ / ★★★★
I admire Martin Scorsese as a director but I do not think this film is one of his best even though I did like it quite a bit. “Gangs of New York” tells the story of Amsterdam Vallon’s (Leonardo DiCaprio) thirst for vengeance after his father (Liam Neeson) was killed in the hands of Bill “The Butcher” Cutting (Daniel Day-Lewis) when he was a child. But since this is a Scorsese film, it simply cannot be that simple. It was also about the frustration and eventual uprising of the poor against the corrupt rich and those of power, rivalry between gangs, the rapid rate of immigration to New York, and the intolerance that comes hand-in-hand when people of very distinct cultures and mindsets are forced to live together. It is an epic picture in every sense of the word but yet there’s something about it that made me believe that it did not quite reach its full potential. When I think about it, I believe that one of its main weaknesses is its almost three-hour running time. While the first twenty minutes were necessary to establish the movie’s emotional core, the next hour was banal. Nothing much happened except for the fact that DiCaprio’s character returned to New York and wanted to gain The Butcher’s trust. So they attend social gatherings together, walk along the streets, go drinking… Pretty much what “tough guys” were supposed to do back in the day, I suppose. I found it really hard to care; perhaps if the whole charade did not last for an hour, I would have stuck with it. However, it did regain its footing half-way through after The Butcher finds Amsterdam and Jenny Everdeane (Cameron Diaz) sleeping together. (It’s not a spoiler. Everyone should know it was bound to happen.) Starting with that scene, I felt like DiCaprio and Day-Lewis were playing a cat-and-mouse game from who they really are to what their motivations are, especially Day-Lewis’ character. The second part of the film felt so much more alive and exciting; I also noticed how grand everything looked–the set, the clothes, the soundtrack… I was sucked into this world that Scorsese had envisioned like I was in his stronger motion pictures. Nevertheless, I cannot quite give this film a four-star rating and feel good about it because it did have that one hour that was pretty unnecessary. Regardless, DiCaprio and Day-Lewis gave very strong performaces and should be appreciated. I loved it when they had scenes when it was just the two of them in a room. I felt like I was right there with them and feeling like I shouldn’t be.
★ / ★★★★
This movie’s greatest weakness is its writing and it is ultimately its downfall. Diane Keaton stars as an overbearing mother who moves into her son and daughter-in-law’s (Dax Shepard and Liv Tyler) house because she’s having marriage problems with her husband (Ken Howard). If her annoyances are not enough, an awkward writer who’s a friend of Liv Tyler’s character (Mike White) moves in with them to work on his potential science fiction/war movie script. With the exception of Tyler, I found everyone to be really annoying. I feel like the characters are more like caricatures of people with extreme personality problems instead of actual complex people with good qualities and bad qualities. Keaton tends to overact and I felt her desperation to be funny in every frame. It was painful to watch in the least. Shepard is also very unfunny; in fact, his character is pretty unkind to his mother even before she moved into the house. If I was in his shoes, even I would try to hear out my histrionic mother’s problems. Shepard’s character needed more heart and his frustrations in his own marriage and jobs are not enough of an excuse to warrrant his behavior. I also didn’t like the fact that Vince Di Meglio, the director, was too obvious in regards to telling his audiences what’s funny and what’s not funny. What I noticed was, most of the time, when something funny was happening, a character would scream or yell. Someone always has to be the butt of the joke and it’s utterly unappealing to me. The movie even resulted to two characters trading remarks at a funeral. It’s supposed to be funny but it’s ultimately not because it’s just plain pathetic. That funeral scene cements how immature and self-centered the characters are. This is another one of those bad comedies that you try to forget but cannot quite get there because of how demeaning it was for the actors who are usually pretty entertaining.
The Edge of Heaven (2007)
★★★★ / ★★★★
Even though I did hear a lot of critical acclaim about this motion picture, I didn’t expect much coming into it. However, after finally watching it, I must say that I was absolutely blown away because of the way Fatih Akin, the writer and director, told such a human story about devastating losses and partial recoveries. The first part was about an aging father (Tuncel Kurtiz) making a deal with a prostitute (Nursel Köse) to live with him and only sleep with him while paying her the same amount of money she would make in one month. I saw the father’s situation as a way to gain control of someone because of his own frustration with his son (Baki Davrak) even though it’s apparent that they genuinely love each other. The second part was about Köse’s daughter (Nurgül Yesilçay) escaping to Germany because she’s wanted by her country’s officials for “terrorism.” She meets Patrycia Ziolkowska and the two become friends and lovers. Eventually, Yesilçay pushes Ziolkowska’s mother (Hanna Schygulla) to the edge because the mother believes that Yesilçay is preventing the daughter from achieving her education. The third part is the most powerful because the film shows that all of the six characters have impacted each other more than they ever thought possible. Although this film does intersect the six lives, it’s not one of those preachy movies with a twist in the end in order to accomplish some dramatic irony. Everything is naturalistic yet bizarre but it never lets go of the fact that it’s grounded in reality. It has enough coincidences to show that life is still magical despite the political battles, strained relationships between children and their parents, and lovers that are never meant to be. To me, the most powerful scene in the movie (among many) was when Schygulla and Yesilçay finally settle their differences. I found it beautiful that, despite all the anger and sadness, a person can look past all those negative emotions and embrace forgiveness. I was also impressed with Davrak as the son who pretty much has nobody even though his father is still around. Their interactions are somewhat cold (but as I said before I think they do love each other) but he still manages to radiate this warmth and craving for knowledge. This is not a simple film that ties up all the loose ends by the time the credits start rolling. This is, in a way, a slice-of-life picture designed for audiences who want to see fascinating characters dealing with realistic situations and deeply affecting outcomes.
Synecdoche, New York (2008)
★★ / ★★★★
This is the kind of movie that is frustrating to watch because its ambition got in the way of true emotional resonance. Philip Seymour Hoffman stars as Caden Cotard, a theater director who one day decides to make an epic life-size play about his whole life. He makes that decision because he wants to know how his life turns out the way it is, to understand why his relationship with the people he loves most simply did not work. There are four women in his life that have impacted him greatly: Samantha Morton, a box-office worker, Hope Davis, a shrink, Michelle Williams, a stage actress, and Catherine Keener, Caden’s wife. The first thirty minutes of this picture is very engaging: I felt how alienated Caden was because he doesn’t feel appreciated by his family and the people he works with. That frustration (and maybe even a bit of rage) begins to manifest physically and he starts to think more negatively about himself to the point where he ends up believing that he’s dying. The point where I started to get confused was when the movie decided to jump forward in time multiple times. I began to lose track of who Caden can still connect with, his motivations, and where he’s ultimately going to end up. On top of that initial confusion, Charlie Kaufman, the writer and director, kept adding elements of existentialism and sequences that might have or might not have happened. The movie got way into itself to the point where I couldn’t relate at all. I’ve read a plethora of critics’ reviews that this is a great film because of its ambition. To me, ambition can only get a movie so far. With ambition, a film must also be able to take its audiences to whether it decides to go no matter how ludicrous the destination. With this film, I felt left out of the loop and constantly wondered what was going on. Even though it’s not as accessible and relatable as I would’ve liked (especially for a movie that’s about life and death), I’m still giving this movie a mediocre rating because I did like some of the elements and issues it tried to tackle.
Rachel Getting Married (2008)
★★★ / ★★★★
It’s definitely refreshing to see Anne Hathaway play a sarcastic and narcissistic character because I’m so used to seeing her as sugary and sweet like in “The Princess Diaries,” “The Devil Wears Prada” and “Ella Enchanted.” Although she’s had her share of darker characters such as in “Havoc,” it’s in this film that she truly shines and showcases her potential as a serious actress capable of carrying roles that have a certain resonance. Although the backdrop of the film is Rosemarie Dewitt’s wedding (as Rachel), the film is really about Hathaway’s inner demons as she tries to recover from addiction to drugs (and negative self-talk regarding herself, the world and the future). I must give kudos to the director (Jonathan Demme) and the writer (Jenny Lumet) for their sublime way of telling the story and how certain characters would crash onto one another. Although the arguments between DeWitt and Hathaway are truly scathing, I still felt an undeniable love between them because of the things they’ve been through. Some of those things are explored in the picture in insightful and meaningful ways so the audiences truly get to appreciate the main characters. I loved Bill Irwin as the father who mediates between the two daughters. Even though he strives to play the middleman, after certain fights, it’s noticeable that it pains him to see his daughters fight. My main problem with the film is that it lost some of its momentum especially toward the last twenty minutes. The movie started off so strongly because we really get to experience Hathaway’s frustration, sarcasm and rage but I felt like those attributes were missing in the end. Yes, I get that Hathaway’s character wanted her sister to have a nice wedding so she tries to hold her smart remarks but I still wanted more. However, I believe this is a strong film because I felt like I was really there with the characters; from the rehearsals to the actual wedding, it made me miss my own family and relatives when we would gather and everyone would act crazy. In a way, I could relate to Hathaway’s character because I consider myself the black sheep in the family (minus the drugs). I also enjoyed the multicultural cast and the fact that the issue of race was not brought up. The main critique I’ve heard from audiences prior to watching this movie is the somewhat shaky camera. I thought it was utilized in a good way in here because it added to the sense of realism. Not everything has to be perfect especially in a film with a very flawed lead character who wants some sort of closure in order to be able to move on with her life.
★★★ / ★★★★
I think this film is very mysterious. Writer and director Krzysztof Kieslowski tells the story of Julie Vignon (played by the exquisite Juliette Binoche) who survived a car crash as her husband and daughter perished. After trying to commit suicide, she decides to sever everything from her past life and start over. Upon introspection, she realizes that the only way she can achieve true liberty from the past is to embrace it. I can understand why a lot of people would completely dismiss this film after one viewing. Perhaps the most common complaint is that the story unfolds too slowly. I personally didn’t find that a problem because of the way Binoche carried her character from beginning to end. Her frustrations range from obvious to subtle. I thought there were two stand-out scenes: when Binoche decides to eat the candy that belonged to her late daughter (and the manner of which she ate it) and when she discovered a mouse taking care of its babies. Those two scenes defined this film because metaphor is one of the most crucial factors that drove the story forward. Nothing may be going on at first glance but when one really looks at Binoche’s subtle facial expressions and body language, one will come to the conclusion that she’s going through an inner turmoil that cannot be mollified with words like “I’m sorry.” I also found this film to be very technical. The use of color is outstanding because it tells the audience how a character is feeling or what the character might be thinking. As for the music, the movie becomes that much more alive whenever the orchestra would play on the background. The colors and music work together to highlight certain emotions that Binoche is going through. This is the first part of an ambitious trilogy and I’m excited to see what the second and third films have to offer.