★★★ / ★★★★
Norman Dale (Gene Hackman) was hired to coach an Indiana high school basketball team. He used to coach college basketball for twelve years, but he spent the last ten years in the Navy. The small town’s residents seriously questioned Norman’s qualifications and strange methods of training. After all, what could a man who spent his last decade on water impart when it came to basketball? Based on a true story of underdogs, “Hoosiers,” written by Angelo Pizzo and directed by David Anspaugh, made a sport I thought was uninteresting into an exciting, touching, and inspiring film that also touched upon what it meant to give and receive a second chance. Immediately did I admire Hackman’s character because of his determination to turn a team with raw potential into a force that worked as a single unit. Despite the town’s constant interference accompanied by unwarranted threats, he didn’t question himself and his methods. There was something about his confidence that I found comforting. The way Norman eventually earned his team’s respect felt natural because communication and wanting to change were established as a two-way street. There was no one rousing speech that changed everything the next day. Dennis Hopper as the assistant coach named Shooter was equally strong and compelling. In fact, I believed Hopper delivered two performances. The first was an alcoholic who lived in isolation and the other was a father who desperately wanted to make his son, a member of the basketball team, to be proud of him. We weren’t always certain whether Shooter would be able to defeat his alcoholism. Unlike the game which consisted of rules, statistics and a certain level of predictability, alcoholism was indeed another breed. It was a disease and the person inflicted could be fine one day and a complete wreck the next. The picture was successful in generating tension because its backbone in terms of the drama behind the basketball games was consistently in focus. When the big games arrived, it felt like there was more at stake, that winning would mean something more than a trophy and a title. It meant pride for the townsfolk who didn’t quite reach their dreams but nonetheless loved their town unconditionally. It meant a boost of morale for the players who worked tirelessly to improve their game. It also meant unity between newcomers and a town who didn’t like the idea of change. I only wished the romantic connection between Norman and Myra (Barbara Hershey), a fellow teacher, was either further explored or taken out completely. In a film with already so much heart, it didn’t need to feature a romantic interest in order to get us to care more than we already did. “Hoosiers” is often cited as one of the best sports drama depicted on film and with excellent reasons. Given that I’m not a big fan of basketball, I found my eyes transfixed on the ball and the scoreboard.
You Again (2010)
★ / ★★★★
In high school, Marni (Kristen Bell) was bullied by the head cheerleader (Odette Yustman) because she was a geek. She was labeled as a loser with glasses, ugly bangs, and pimples so she didn’t have any friends. Marni was traumatized and grew to hate the idea of high school over the years. About ten years later, we saw that Marni had a great career in public relations. In fact, she recently had gotten a promotion before she headed home to her brother’s (James Wolk) wedding. To Marni’s horror, Joanna, the woman her brother was intending to marry, turned out to be the very same person who made high school a place of fear and humiliation. “You Again,” written by Moe Jelline and directed by Andy Fickman, casted wonderful actors but none of them were given much to do. Marni’s mother (Jamie Lee Curtis) and Joanna’s aunt (Sigourney Weaver) had an entirely predictable subplot that was directly and eerily related to Marni and Joanna’s rivalry. Betty White, as adorable as she was, was stuck playing the grandmother who had the funny one-liners. Even Victor Garber’s character was painfully one-dimensional as the unaware father whose only notable feature was that he liked to eat with a blindfold because he was convinced that not seeing the amount he ate made him lose weight. I wouldn’t have minded the poorly established supporting characters but the four women should have been at the forefront. The filmmakers’ job was to paint a portrait of them with varying degrees of depth and complexity. They failed. Marni and Joanna’s games were understandable. They might have been adults but they were young. Ten years isn’t a long time to forget high school memories especially if one had been scrutinized and bullied. I understood why Marni was still angry. I even understood why she wanted some form of revenge. At the same time, I felt like Joanna was genuine about starting over, to change from being a person she didn’t like to a person that she and others can love. Most of us deserve a second chance. However, the mother and the aunt’s relationship should have been explored deeper because it was a key element in the four women finding resolution and closure. The relationship between the two former best friends should have been the mirror in which the younger women realized the error of their ways. Instead, we were given a series of slapstick humor but not enough exploration of the real pain behind bullying and broken friendships. I felt that the material was deathly afraid to look at its own heart. Great comedies have proven that a comedy picture fails to work without some level of emotional investment between the characters and the audiences. “You Again” was like watching a freshman sitcom that was cancelled after only three episodes.
Easy A (2010)
★★★ / ★★★★
Olive (Emma Stone) was invisible like most of us when we were in high school. But when a false secret that she confidentially told her best friend (Alyson Michalka) was overheard by a Jesus fanatic (Amanda Bynes) in the ladies restroom, word traveled around the school like a virus that she was willing to sleep with anyone and everyone. Her newfangled reputation made her popular, which Olive admitted she enjoyed at first, but soon she began to feel harrassed by her peers and adults. “Easy A” had an effervescent charm and edge that most teen flicks could only wish they had. It caught me by surprise because I thought it would be another raunchy movie about teens with nothing on their minds but attaining empty sexual encounters. Or worse, the teens ending up as the jokes’ punchline instead of the situations in which they were thrown into. Instead, we had a bona fide main character with a brain, a sense of humor, and effortless charisma. The film’s heart was immediately established within its first few minutes so we willingly stood by our lead character as she attempted to navigate the uncharted waters of high school rumors and ugly backstabbing in which a friend was readily able to betray. We may not always agree with her actions but we like her all the way through. Stone injected buckets of enthusiasm and made the material better than it should have been. I liked that she was very sarcastic, fully equipped with references to teen movies of the ’80s, and came with progressive parents (the hilarious Patricia Clarkson and the sublime Stanley Tucci) who seemed to await the opportunity to share way too much information with their kids. The picture had a very funny rising action as Olive explained to us, through a video blog, what had happened and why she eventually came to regret her decisions. She even had time to explain to us the plot of Nathaniel Hawthorne’s “The Scarlett Letter” and why it was relevant to her life. It was a good decision on the writer’s part because I was one of those students who only pretended to read the book in high school. I thought it was unfortunate that the movie’s swift pace came to a screeching halt when Olive started to acknowledge her feelings toward the sensitive guy under the school mascot (Penn Badgley). I thought that aspect of the movie was unnecessary because it shouldn’t have been about her finding a man. The film’s message about owning up one’s actions and being free of labels were somewhat muddled by “the first romance” angle. Directed by Will Gluck, “Easy A” might have dealt with sexuality and the power that comes with it in a commercial way but it needed to because its intended audiences are teenagers. It worked because the script was full of rat-tat-tat witticisms, self-awareness, and even small ironic touches adults might l enjoy.
Kids in America (2005)
★★★ / ★★★★
Principal Weller (Julie Bowen) oversaw Booker High School and wanted to run for superintendent of the school district. She cared more about politics than helping her students to become active learners. In her own words, she saw her job as simply about improving statistics. In order to show that she was in control, she started to adopt new rules such as banning students from distributing condoms to promote safe sex (ludicrous but a more realistic goal than abstinence especially in a high school setting) during National Safe Sex Day and going through students’ diaries without good reason. Teenagers from several cliques (Stephanie Sherrin, Caitlin Wachs, Alex Anfanger, Crystal Celeste Grant, Chris Morris, Emy Coligado) came together, with an appropriately named Holden (Gregory Smith) as their leader and one of their teachers (Malik Yoba) as their mentor, to fight for their rights via civil disobedience. Inspired by several true stories, what I enjoyed most about “Kids in America” was the way the characters embraced their stereotypes and concocted a way to make what made them different work for them, which ranged from serious issues (a daughter of a hippie fighting for the injustice of female genital mutilation) to hopelessly silly situations (an Asian pretending not to understand English in attempt to get out of jail). The type of comedy was nothing particularly groundbreaking compared to other teen movies but it had so much manic energy that its typical teen humor was easy to overlook. What I found to be more important was the fact that it wanted to discuss intelligent issues that matter. It had a good message about making an active change in the community if rights were being stripped away. My favorite scene was when Holden challenged the teenagers to find another persons of the same sex and kiss them on the lips as a response to Principal Weller’s homophobia. It was very amusing but it had to be done in order to prove a point: Medieval methods do not coincide with modern times. Admittedly, I wished it spent more time, from a serious angle, about the repercussions of taking disobedience a bit too far. It would have given the movie more edge and therefore would have been more memorable. Directed by Josh Stolberg, “Kids in America” can be inspiring given the right type of audience. Under a critical eye, it may be a bit too simplistic with its themes but I think it is focused and ironic enough to successfully get its points across to its intended audiences.
My Soul to Take (2010)
★★ / ★★★★
Abel (Raúl Esparza) suffered from dissociative identity disorder (DID). On the night seven children were born, he learned that one of his personalities was the serial killer that prowled the streets of Riverton. This caused a break in his mind and it allowed the personality to take over and kill his family. Luckily, the police (Frank Grillo, Danai Gurira) arrived just in time before he had a chance to murder his three-year-old daughter. Before his death, he promised that he would return and claim the children who were born the night he died. Exactly sixteen years later, the seven teens, collectively known as the Riverton Seven (Max Thieriot, John Magaro, Denzel Whitaker, Zena Grey, Nick Lashaway, Paulina Olszynski, and Jeremy Chu), started to die in the hands of a murderer. There were three people worthy of suspicion: Bug (Thieriot) who seemed to be experiencing a psychotic break similar to what happened to Abel on the night he died, Abel’s daughter nicknamed Fang (Emily Meade) who ruled the high school, and the physical manifestation of Abel himself. Written and directed by Wes Craven, “My Soul to Take” was a post-modern horror hybrid of slasher flick and ghost story. In general, I enjoyed it because Craven had an interesting take on the genre. However, the more I pondered about the film, the more I felt disappointed because it failed to explore several important components in order for us to feel like we were actually in the increasingly paranoid Riverton. Craven managed to accomplish this difficult feat in “Scream” as the Woodsboro murders started to unfold. There was no reason why he couldn’t pull it off here. The film spent too much on time on the teenagers as some of them bullied Bug. Didn’t they have anything better to do like, oh, I don’t know, maybe do their homework or worry about the SATs? As for those who Bug considered to be his friends, they either had some sort of handicap, emotional or physical, or was a religious fanatic. It was amusing, which I’m sure was the point, but it took away considerable amount of time that could have been spent placing us from the detectives’ point of views, the same duo who encountered Abel all those years ago. One believed in science but the other offered another explanation. The latter claimed that in her culture, people with multiple personality disorders didn’t have multiple personalities. Rather, they had multiple souls. It was a fascinating perspective and we could surmise that maybe Abel’s “souls” were transfered to the newborns after his death. After all, in some documented form of DIDs, the personalities were at war. The film had many ideas and there were a handful of implications if one were to look closely. But the closer I looked, the more I was convinced that the story and script lacked focus. Instead of working synergistically, they seemed to derail each other. One glaring mistake was the confusion between DID and schizophrenia. One can blame it on nothing else but ignorance.
★★ / ★★★★
Robert (Ezra Miller) was a sophomore in a private high school where kids were isolated from their parents so they were free to experiment with whatever they wanted. The high school made it a requirement for their students to take up sports or after school activities so Robert, having no interest in anything physical other than being intimate with another, chose to join the Video and Audio Club. While shooting at a hallway for an assignment, Robert accidentally captured two girls overdosing on cocaine. The event triggered a series of new rules as the students struggled to adapt to the death and their new environment. This film was good in some parts but it was mostly frustrating. I hated the scenes that reminded me of Michael Haneke’s “Caché,” where absolutely nothing would happen as the camera would linger at something random person or object. I think that is one of the main problems of movies adapting a style of faux-documentary or faux-realism: the filmmakers just don’t know when to cut certain scenes when the important element had been delivered. At times, nothing important would appear on screen at all. It then becomes an utter waste of time. The two main emotions I felt while watching this picture were anger and apathy. Anger because of the increasing frustration regarding dragged out scenes for no good reason. Apathy because of the subject matter. I felt like I was back in high school. One of my biggest disappointments with the film was it didn’t feature one healthy, clear-minded student with goals that go far beyond their current institution. When the two students died, honestly, I didn’t care. For me, they were just twins who happened to be addicted to drugs. Yes, they were young but that was no excuse. I was their age once but I chose not to make highly stupid decisions. It was ultimately their choice to be involved in drugs. No amount of excuse such as the classic, “My parents don’t give me enough attention” would make me feel more sympathetic toward them–dead or alive. Then my feeling turned to anger again because the very same students who called them “cokeheads” behind their backs suddenly changed their minds, claiming that they would miss the twins and “nothing would ever be the same.” Give me a break. But then I wondered whether that was the director’s purpose: to expose the drug culture of schools today and to reveal the hypocrisy of both the students and the faculties. “Afterschool,” written and directed by Antonio Campos, is a challenging film but sometimes it was just plain wooden. I wouldn’t be surprised if one decided to stop watching the movie just thirty minutes into it. However, I liked the fact that it made me curious with what would happen and to see whether my hypothesis involving the main character’s psychological state was correct. And I was.
★★★ / ★★★★
Cher (Alicia Silverstone) was not the type of popular girl who loved to bully those who were at bottom of the social ladder. She would rather spend her time shopping for designer clothes with her best friend (Stacey Dash). She was the type of popular girl who cared about her grades because her father (Dan Hedaya) kept her in check and her ex-step-brother (Paul Rudd) implicitly urged her to care more about the bigger issues in life. In her charmingly narcissistic way, she decided to give back to the community via giving the new girl in school (Brittany Murphy) a much needed makeover which led to a series of happenings that allowed her to realize who she was romantically in love with. As light and easily digestible the movie was, I was very entertained by it because the dialogue seemed simple on the outside but there was an intelligence and self-awareness in its core. I liked that the main character was an airhead but she had a defined perspective that she stuck with throughout which made her endearing and consistently interesting. For instance, when she was about to go out in skimpy clothing with the boy she really liked (Justin Walker), her father asked her what she was wearing. She responded by saying that it was a dress and Calvin Klein told her so. Furthermore, it was just refreshing to watch a popular girl not having to result to doing mean things to others just so she could get her way. Yes, she could be a brat at times but that trait did not define her. When her grades were low, instead of scheming of ways to blackmail her teachers (Wallace Shawn, Twink Caplan), she did the unexpected by playing matchmaker. Since she saw the world as a happy place, she believed that by helping others realize how good the world was, everything would come into place for her. Silverstone did a wonderful job playing the wide-eyed barbie because she made her character relatable, genuinely funny and, yes, even smart and witty (I love her scenes in debate class). The picture was honest with its title and it did not get lost in the satirizing the Beverly Hills high school kids when it could easily have been. Adroitly written and directed by Amy Heckerling, “Clueless” became a key figure in teenage pop culture because it was successful in its attempt to embrace the high school clichés but at the same time turning them upside down and pointing the fingers at us. Although we could not help but judge these kids as shallow and annoying, we laughed at (and with) them and maybe even cared about them. I think that says something about us.
The Breakfast Club (1985)
★★★ / ★★★★
Five high school students who personify a geek (Anthony Michael Hall), a princess (Molly Ringwald), a jock (Emilio Estevez), a basket case (Ally Sheedy) and a criminal (Judd Nelson) spent a Saturday in detention under the eyes of a begrudged principal (Paul Gleason). The picture’s argument was the fact that although we label ourselves (or others label us) to be in a specific category in the high school social strata, we can relate with each of the five characters because we share one commonality: in high school, all of us are just hoping to get by and waiting for our lives to actually begin. The film was astute in observing the teenagers while they interacted with each other and when they were on their own. Even if the characters were not saying anything or if they were just on the background, I was able to read them and I thought of things that they might have been thinking at the time. Having been released in era where typical teen flicks were abound, “The Breakfast Club” almost immediately gained a cult following because of its honesty, right amount of cheesiness, and cathartic quality. My favorite scene was toward the end when the five were in a circle and decided to share why they were sent to detention. I liked the fact that it wasn’t a typical “sharing time” where everybody was solemn and serious all the time. They were actually able to make jokes toward and around each other in between discussing their issues. It made me think of me and my friends when would do the same thing. Out of the five, I could relate to Hall’s character the most (and a bit of Ringwald’s because of her slight conceitedness). It made me think of the way I was in high school concerning my penchant (or perhaps even obsession) for getting straight A’s. It got to the point where getting straight A’s was something that I expected of myself instead of something that I had to strive for. I remember being so hard on myself for making small mistakes when, looking back on it, I didn’t really need to. Now that I’m older, I just think of grades as letters on a piece of paper and nothing more. They don’t define us and they certainly don’t dictate what we can offer the world. The difference between me and Hall’s character was my parents did not pressure me into getting the perfect grade point average. However, I can just imagine how it must have been like for other students who were not so lucky–those that jumped off buildings in college because they felt a need to have the “perfect academic record” to have a “secure future.” Written and directed by the legendary John Hughes, I thought he did a wonderful job capturing the essence of teenagers despite their place in the high school hierarchy.
★★ / ★★★★
“Storytelling” was divided into two parts: fiction and non-fiction. In the former, Selma Blair stars as a writer who was having trouble coming to terms with her artistic identity. In order to find it, she decided to sleep with her brutally honest professor (Robert Wisdom) after her boyfriend (Leo Fitzpatrick) had broken up with her. In the latter, an aspiring filmmaker (Paul Giamatti) decided to make a documentary about high school life and the pressures of getting into college. His specimen was an aimless teen named Scooby (Mark Webber) who wanted to be the next big talk show host. As with Todd Solondz’ other projects (“Happiness,” “Welcome to the Dollhouse”), what I enjoyed most about “Storytelling” was that it was so good in straddling the lines between scenes that were purely offensive, scenes that were very funny, and scenes that were undeniably sad. However, brilliant moments were not prevalent here because I felt like Solondz was completely detached from his characters. Instead of really focusing on their respective emotional turmoils, I found him constantly poking fun of them. He disdainfully points at his subjects and makes a lot of jokes at their expense but as the film went on, the jokes became less funny to the point where it most became redundant. I craved for the director to reveal another dimension to his characters but it rarely happened so I felt very disappointed. Although I liked the risk that the director had taken in terms of dividing the movie into two parts and making one considerably shorter than the other, I am not convinced that risk ultimately paid off. The fiction portion lacked focus (which was a shame because I really liked Blair in it) and the non-fiction segment felt too contrived. Neither came together in the end and I failed to see what Solondz wanted me to understand. I had a handful of ideas in my head but I feel like the material he had on screen was just too general. That lack of focus led to a lack of momentum. For instance, did Giamatti’s character realize that the subject he had chosen was very similar to current self? So in a way, he was basically documenting his life and at the same time making fun of it. I suppose it’s a good thing that I was able to extract many questions from the images the director put together but I did not feel like he had power of them. In the end, “Storytelling” was a nice experiment and nothing more. It tried to be different on the outside but when I really look into it, its core was not at all atypical.
★★★ / ★★★★
Written by Daniel Waters and directed by Michael Lehmann, “Heathers” was an addictively delicious dark comedy starring Winona Ryder as Veronica, one of the four most popular girls in school (Shannen Doherty, Lisanne Falk, Kim Walker–all named Heather), who suddenly began to question her friends’ actions toward the less popular and less accepted. She eventually met the appropriately named J.D. (Christian Slater), a charming rebel who I thought represented Veronica’s id. During their time together, they came up with ways to murder those who made everyone’s life in high school a living hell. What they did not expect was, due to the poignant suicide notes they wrote, the dead teenagers became more popular than ever. My favorite element that defined the film was the laugh-out-loud one-liners. I just couldn’t help but laugh after hearing them because, despite the lines spelling out some gruesome imagery, they sounded natural (especially if they’re being spewed out by mean girls) and we remember them over time because we don’t hear anyone normally talking like the way they did. I admired the writer and director’s audacity to show the stupidities of all students (including our protagonist) and how unprepared/insensitive the faculties were when a student committed suicide. I thought “Heathers” was honest despite its histrionics. In high school, when someone from our school died, we held discussions in classrooms after morning announcements and sometimes acknowledged “the situation” during assemblies. But in the end, only a handful of people genuinely cared while others just couldn’t wait for the bell to ring so they (or we) would be dismissed. Talks of how “sad” the majority of students were about “what happened” was just something we felt we had to do either to pass the time or we felt as if it was the appropriate social response. However, my main problem with “Heathers” was it eventually began to lose focus of the big picture. Doherty’s boldness to eventually capture the newly available throne (even the “Heathers” clique had a hierarchy) was a little too late for me. I would have liked to have seen more scenes of her demonstrating how toxic and vile she could be especially to those who she considered her “friends.” Nevertheless, the movie managed to regain its focus toward the end when our protagonist finally decided to face (but not necessarily correct) her mistakes. I concur when others claim that “Heathers” is one of the best dark comedies about high school. Teen movies that aimed to copy its success could only admire from afar the essence of its vitriolic dialogues and metaphorical imageries.
★★★ / ★★★★
Corey Haim stars as the title character who was a smart fourteen-year-old in high school who fell in love with the new girl in town (Kerri Green). Conflict ensued when the new girl started liking a football jock (Charlie Sheen) who had a soft heart for Lucas. Meanwhile, a fellow band member named Rina (Winona Ryder) obviously liked Lucas but he was too focused on winning over the new girl to feel Rina’s affections. Written and directed by David Seltzer, “Lucas” is a great simple film with a huge heart. It exuded intelligence because even though its subject was high school kids, the characters were multidimensional because the movie took its time to allow them to voice their thoughts about themselves and concerns for each other. There were some red flags that hinted at possibly taking the stereotypical path in teenage pictures because of the bullying. However, the film offered some surprising elements in terms of where the picture ultimately decided to go. Even though some characters were bullies, some were bullied and some were simply left on the sidelines, all of them were pretty much outsiders. All of them felt some sort of pain at that specific time in their lives. I thought that was an insightful look at high school life and it’s so refreshing to watch because most teen movies these days don’t come close to (or don’t even attempt to reach) the level of introspection that this film had to offer. While I did enjoy its critique on the social high school strata, I wish it had more scenes between Haim and Green. The first thirty minutes of the movie was very strong because it felt intimate and there was a certain sweetness to those scenes that the rest of the movie didn’t quite match. “Lucas” started off with a hatching of a locust. As the film went on, I started to realize its symbolism and I couldn’t help but feel moved. There was a really touching scene between Haim and Green in the end when Lucas wondered where they would be twenty years from now and if they would still know each other. That scene was a stand out because it captured the level of intimacy between Lucas and the new girl like in the beginning of the movie. It also managed to wrap everything up in so little words while highlighting the innocence youth and how quickly it could disappear. “Lucas” may not be as consistent as I would have liked (I thought it managed to reach some emotional highs comparable to “Stand by Me”) but it deserves an enthusiastic recommendation. It goes to show that it’s possible to have a simple story and letting the emotional gravity hook us and move us.
Pressure Cooker (2008)
★★★ / ★★★★
Three high school students (Tyree Dudley, Erica Gaither, Fatoumata Dembele), under the passionate culinary arts teacher Wilma Stephenson’s guidance, worked their hardest to get scholarships for culinary arts college. I loved that this documentary focused on people who happened to be from a poor neighborhood but that didn’t stop them from trying to reach for their dreams. I admired the three former high school students because they had challenges outside the culinary school–Tyree and football, Erica and her handicapped sister, and Fatoumata being an immigrant from Africa–yet, strangely enough, I found that their respective challenges was what made them stronger. Out of the three, I could relate with Fatoumata the most because, growing up in another country and moving to America, I agreed with her outlook about America and its opportunities. Every time she talked about how thankful she was about immigrating to this country, I couldn’t help but feel moved. But the element that I found most interesting about this documentary was Stephenson’s relationship with her students. Even though she constantly yelled and screamed at them in the kitchen, it was easy to tell that she did those things out of love. She knew she needed to push the kids to doing their absolute hardest so they could get a scholarship. But outside of the kitchen, it seemed like she was a different person. She was still sassy but very approachable. I don’t know any teacher who would push his or her students to go to prom because “it’s a once in a lifetime thing” and even take them shopping for clothes. She didn’t just care for her students. She loved them in a such a way where she was willing to be a parent and that earned her respect. This documentary was not only inspiring and touching, it was also suspenseful. The climax of the film was when the class had to cook as the judges looked over their shoulders and sometimes made suggestions on how they could improve their skills. It was scary because so much was at stake and a little slip-up could ruin their chances of getting a scholarship they desperately needed. I was elated after watching “Pressure Cooker,” directed by Mark Becker and Jennifer Grausman, because it was exactly the kind of movie I needed to see two days before taking my MCAT. It made me feel like anything was possible just as long as you invest the time to do the work and let your passion assist you during the most challenging times.
Assassination of a High School President (2008)
★★ / ★★★★
I’ve read reviews about this film and a number of people think that this will eventually be a cult classic. I highly doubt it. Directed by Brett Simon, “Assassination of a High School President” stars Reece Thompson as Bobby Funke, a high school sophomore journalist with dreams of getting a summer program at Northwestern. Assigned by Melonie Diaz to write about the school’s student body president (Patrick Taylor), Thompson stumbled upon secrets which involved stolen SAT exams. This movie reminded me a lot of the indie gem called “Brick” starring Joseph Gordon-Levitt. It has a certain post-noir feel to it, but the difference between “Brick” and this film is that this one is less complex and not as exemplary when it comes to its style. At times I found myself wondering whether it wanted to be a true modern noir film set in a private Catholic high school or an edgy romantic comedy about a kinda-sorta loser who wanted to date the most popular girl in school (Mischa Barton). That indecision took some of the focus away from the story and so it became less intriguing. However, although the picture wasn’t as provocative as I thought it would be (I imagined “Election”-level snarkiness when it came to the dialogue and desperation of the characters), Thompson’s geek-chic charm made me want to keep watching. I saw him on the underrated “Rocket Science” and was highly impressed so I was interested to see if he could bring the same sort of neuroticism from there to this movie. I must admit that I guessed incorrectly on whoever was really involved in the whole SAT fiasco. But what I liked about it was that there wasn’t really a big twist in the end; there was actually a culmination of hints and evidence that eventually led to the final revelation so I ultimately didn’t feel cheated. If the whole romance angle between Thompson and Barton was completely taken out and Thompson was all business without taking any prisoner, this probably would have been a slam dunk for me. The movie definitely had pop during the investigation scenes but it became lazy and typical during the courtship scenes. This is a pretty decent rental on an uneventful Saturday night because there were some witty dialogue but watching it shouldn’t be a priority.
The Curiosity of Chance (2008)
★★★ / ★★★★
Tad Hilgenbrink stars as Chance Marquis, an openly gay high school student in an international school somewhere in Europe with an interesting fashion sense. Since he sticks out in a negative way, he was ostacized by his peers and some of the soccer jocks (led by Maxim Maes) actively bullied him every day. At first I had a difficult time accepting that Hilgenbrink would be at the bottom of the high school food chain simply for being gay and dressing funny because of his model-like good looks which really reminded me of a fusion between James Marsden (Hilgenbrink played Cyclops in “Epic Movie”) and Seann William Scott (Hilgenbrink also played Stiffler in “American Pie Presents Band Camp”). But then I really got into his character because not only did he try so hard to be different by talking like he has a thesaurus next to him (which reminded me of how I talked sometimes in high school), he really did have problems that are painful with regards to his identity. This was highlighted during his scenes with his father (Chris Mulkey) who is in the military; even though they get along somewhat swimmingly, there was that wall between father and son that I desperately hoped would break by the time the film ended. Instead of the obligatory silly scenes such as sneaking into the principal’s office, I wish the Hilgenbrink and Mulkey had more scenes together even though the whole strained father-son relationship had been explored too many times in LGBT movies. I also liked the (non-romantic) relationship between the lead character and one of the nicer soccer jocks (Brett Chuckerman). He was a foil for Chance’ character because he was socially accepted but he was also struggling to find his own identity regarding sports versus music. There were also some genuinely funny scenes with Hilgenbrink’s friends played by the sarcastic/scathing Aldevina Da Silva and the naive/nerdy Pieter Van Nieuwenhuyze. They needed more character development instead of merely being stereotypes but considering what they were given to play, I think they did a good job. “The Curiosity of Chance,” written and directed by Russell P. Marleau, reminded me of a weaker version of “Get Real” (the whole bit about the homosexual and the friendly jock minus the romance) and it had enough wit and daring scenes (involving drag queens) to get me to recommend it. It’s not perfect by any means because I thought it needed to spend more time in the editing room, but I definitely laughed with it. I loved Chance’ fantasy scenes; I can’t help but smile just thinking about them.