Village of the Damned (1960)
★★★ / ★★★★
It was an ordinary day in an English village which suddenly turned extraordinary when the townsfolk fell asleep at the same time. Calls from people who wished to contact the villagers could not go through so they began to worry. Whenever someone from the outside crossed an invisible line, they, too, fell asleep. Officials concluded there must have been a force field or a biological agent involved that explained the strange phenomenon. When the villagers woke up, a few months later, the women made the discovery that they were pregnant. I found this movie fascinating because of its strong concept and consistency to keep me guessing. I admired it for not simply relying on the creepy blonde-haired children to generate chills. It actually took its time trying to explain the weird situation the village was thrusted into by monitoring women at various points in their pregnancies. We learned a handful of weird details even when the children were still in the womb such as their rate of development being faster than a normal human being which suggested, as my first hypothesis, that the kids may have been extraterrestrial by nature. But the picture did not give us defined answers. It asked questions like the children’s purpose, but the writers made an astute decision to simply offer the audiences several explanations and it was up to us which, if any, we wished to accept. The film constantly changed gears. When the kids were about three of four years old, led by David (Martin Stephens), son of a couple (George Sanders, Barbara Shelley) suggested to have been trying to conceive but to no avail, we learned that the kids had various psychic abilities. Paranoia covered the town like a permanent fog and the regular folks’ discrimination almost made me feel sorry for the kids. Wolf Rilla, the director, successfully tried to make us sympathize for the children so the material felt dynamic. Since they were so different, the people in the village did not quite know how to deal with the blonde-haired children. It was easy to relate the situation to the real world where educators struggle to find a way for gifted children to meet their true potential. The ostracization by their peers is another factor. “Village of the Damned,” based on John Wyndham’s novel “The Midwich Cuckoos,” had imagination but it did not result to gore or violence. The small details were the factors that sent chills down our spines. The story may have taken place in a small village but the ideas surpassed borders on the map–or in this case, force fields.
The Adjustment Bureau (2011)
★★★ / ★★★★
Based on a short story by Philip K. Dick, “The Adjustment Bureau” was about a U.S. Congressman named David Norris (Matt Damon) and his accidental discovery of men in hats (John Slattery, Anthony Mackie, Terence Stamp) whose jobs were to make sure that fate went according to plan. The event that triggered it all was David’s chance encounter with Elise (Emily Blunt), incidentally, the night David was destined to lose the election. The moment David and Elyse met, they immediately felt a spark, a signal that perhaps they just might spend the rest of their lives together. But the mysterious men in hats and their boss upstairs knew that David and Elyse were not meant to meet each other, let alone be together, so they were willing to do whatever means necessary to keep them apart. The film was a successful hybrid of romance and science fiction. Its casting should be recognized. From the moment David and Elyse met in the men’s restroom, Damon and Blunt convinced us that their characters were perfect for one another. They played each other off with ease. From the awkward “What are you doing in the men’s restroom?” look to the way the their bodies moved closer to each other as their first conversation went on, the picture convinced us that they had chemistry. Casting was fundamental but critical because if their interactions lacked charm, we wouldn’t have been emotionally invested. If we didn’t want them to end up together, the conspiracy that wanted to keep them apart would have been ineffective. I admired the fact that there was not a defined good versus evil. The agents of the Adjustment Bureau were assigned a job and their job just happened to involve separating forces that greatly attracted each other. There were some plot holes, especially since the film took the liberty to fast forward in time for several years without explaining some events that happened in between, and misplaced expositions designed to explain what was happening and why certain things had to happen a certain way, but such elements were almost expected in high concept movies. For me, what mattered more was the material always looked forward so its pacing was steady. Like people in love, as long as I remained curious about the mystery and how the romance would eventually turn out, I learned to live with its imperfections. Unlike most films with romance in their veins, David and Elise’s fate as a couple wasn’t perfectly clear. There was a discussion of death which could serve as a foreshadowing. There was a question whether we should leave someone we love if we knew that our presence in their lives hindered them from reaching their potential. But there was also an implication that if enough unpredictable ripple effect were created, perhaps fate could be changed even in the slightest ways. Directed by George Nolfi, “The Adjustment Bureau” was able to reach a balance between intelligence and heart. But what it required from us was a little bit of imagination.
★★★ / ★★★★
The original plan was for Andrew Kaulder (Scoot McNairy), a photographer, to take Sam Wynden (Whitney Able), his boss’ daughter, from Mexico to the United States via a ferry because the land between the two countries were infested with giant octopus-like aliens. But after Kaulder and Sam had a night out of drinking and celebration, Kaulder ended up taking another woman to his motel room. The next morning, when Kaulder wasn’t looking, the woman stole some money including Sam’s passport, a requirement in order for her to get aboard the boat. “Monsters” was an effective science fiction film despite its small budget because it had a solid hold on its tone. The first forty minutes focused on the flirtation and possible romantic connection between the two protagonists. Even though Sam claimed she was engaged, it was apparent that she enjoyed Kaulder’s advances. When he suggested that he stayed on her bed because it was big enough for the two of them, she hesitated for a moment before sending him off his way. The rest of the picture’s running time was dedicated to their nail-biting journey across the infected land. Initially, they were protected by men with guns but we knew that they were simply there as bait. When they heard a strange noise from a distance, it was only a matter of time until the aliens came out from the shadows that hid them so well. I believe the film was highly influenced by Steven Spielberg’s “Jurassic Park.” Kaulder and Sam were always stuck in some sort of a vehicle as they were forced to observe the carnage. A small sound could potentially capture the aliens’ attention and so I caught myself holding my breath for them and hoped that they wouldn’t err. Furthermore, there was a scene set in a gas station that was very reminiscent of the children’s encounter with velociraptors in Spielberg’s sci-fi classic. We even had a chance to learn about how the aliens reproduced. It was horrifying. I felt like a child again; the feeling was similar to when I found out that if a worm was cut in half, the halves could survive and regenerate. (The concept still feels alien to me.) The extraterrestrials did get close to the characters but the filmmakers made a smart decision to not allow the creatures to catch up on them to the point where a human and alien would make contact. For a human to escape a giant alien equipped with sensitive feelers and great force would have been too unbelievable. It was all about the escape and the moments in which the characters believed that it might have been over for them. I understand some people’s disappointment about the film’s lack of CGI, gore, and explosions. That’s exactly why I enjoyed it. It was proof that those elements weren’t necessary to make an effective science fiction film as long as it has a wild imagination combined with a human story.
My Life as a Dog (1985)
★★★★ / ★★★★
Since their father was overseas, Ingemar (Anton Glanzelius) and his older brother (Manfred Serner) were separated to live with their relatives for the summer so that their sick mother (Anki Lidén) could rest. Ingemar’s dog, who he claimed to love as much as his mother, was sent to the kennel during his time away from home. It was easy to like Ingemar because he was unlike most children. Whenever things turned for the worse, Ingemar would often compare himself to others who were worse off than him. For instance, he often mentioned Laika, the dog who was sent to outer space and never had the chance to return. “Mitt liv som hund,” or “My Life as a Dog,” had some formulaic coming-of-age elements but the execution was pulled off in an imaginative and often touching way. We followed the story through Ingemar’s eyes and we felt the abandonment he felt when he was passed from one home after another. Even though he was a kid, he was perceptive enough to realize that he was essentially like his dog and what the dog must have felt when Ingemar had no choice but to leave it at the kennel. I found myself on the verge of tears at times because he knew that he was slowly losing his mother so he tried so hard to hold onto something easier but something that he loved just as equally (or so he claimed): his pet. I found the flashback scenes very touching because we had tiny peeks to a time when Ingemar was at his happiest. His brother certainly didn’t make things easier because he also had his own way in dealing with negative emotions. I liked the way Lasse Hallström, the director, highlighted the kindness of eccentric people in a tight-knit community to distract the kid from breaking down. Ingemar made a special relationship with a girl named Saga (Melinda Kinnaman) who dressed and acted like a boy. She liked him but he didn’t like her back so there certainly was tension there. They were able to work through their many frustrations by boxing it out in the ring. One of my favorite scenes was when another girl took Ingemar to her room and Saga came busting in like her usual tomboy self and fought for what she felt like belonged to her. I loved the way that particular scene was framed and I felt a certain energy to it that reminded me of those classic romantic love triangle pictures in the golden days of Hollywood. Instead of using the quirkiness just for the sake of being funny or underlining the weirdness of small communities, Hallström successfully focused on the heart of the film. “Mitt liv som hund” was based on Reidar Jönsson’s autobiographical novel and it felt every bit as personal. Every crucial element in the story felt connected and it had a silent power that I will remember for a long time.
Diary of a Wimpy Kid (2010)
★★★ / ★★★★
Based on the books by Jeff Kinney, “Diary of a Wimpy Kid” was seen through the eyes of plucky Greg Heffley (played wonderfully by Zachary Gordon) as we followed his often very funny misadventures in middle school. Even though Greg had a lot of attitude toward and opinion about the lameless of the constantly evolving social hierarchy of middle school, he kept looking for ways to fit in and be at the top (or near the top) of the food chain. His schemes that could potentially make him a cool kid overnight were often thwarted by his awkward and corpulent best friend Rowley (Robert Capron), but Greg couldn’t find it in himself to leave him because they’ve been BFFs for as long as he could remember. I loved the main character because I saw lot of myself in him. He was a bit vain but charming, weird but sensitive during the perfect moments, vulnerable yet capable of subterfuge when pushed toward a precipice (or social suicide). Despite his many flaws, I rooted for him because he knew that one day he would be able to look back in time and just laugh about the stupid decisions he made, the shallowness of social climbing, and the ones who took middle school so seriously. There were a number of scenes that stood out to me. One of my favorites was when he tried to persuade us that there was a subtle difference between a journal and diary–that the latter was geared more toward girls while the former was a bit more manly. Another scene I really liked was when he said that fashion was easy and if he wore a tie and a dress shirt to school, everybody would think he was cool. As a person who tried it before (we really did have a lot of similarities), I thought it was absolutely hilarious. However, what did not work for me was when it took the Disney Channel path somewhere around the middle. While I did like the Halloween scenes (like Greg’s, it’s also my favorite holiday), it became too sweet and uninteresting. I wanted more scenes of Greg’s relationship with his obnoxious older brother (Devon Bostick) and the smart seventh grader (Chloe Moretz) who took pictures for the school paper. Even the parents (Steve Zahn, Rachael Harris), as one-dimensional as they were, sometimes showed promise that there was something surprising about them. The symbolism regarding the moldy cheese was obvious but, ironically enough, I didn’t think it was cheesy because the film had a lot of things going for it. For instance, it was able to successfully integrate the characters’ insecurities and apply them to situations where the kids could learn something from their experiences. “Diary of a Wimpy Kid,” directed by Thor Freudenthal, is one of the best non-animated children’s movies I’ve seen in a while. It was sassy, quirky, imaginative, funny and full of energy. Adults who are a kid-at-heart would most likely find it enjoyable because it was relatable. It’s one of those movies I must have in my collection.
Somers Town (2008)
★★★★ / ★★★★
Two lonely teenagers met in London and we have the pleasure to observe them for a couple of days. Marek (Piotr Jagiello) and his father (Ireneusz Czop) were Polish immigrants. Marek mostly kept to himself as he slowly nourished his interest in photography. His father worked during the day and drank with his friends at night. Tomo (Thomas Turgoose) turned sixteen and his first big decision was to move to London for reasons unknown. He was mugged on his first night in the big city but this did not change his romantic view of it. Marek and Tomo met at a local café where Marek told Tomo about his crush on a waitress named Maria (Elisa Lasowski). Then the two devised ways to get her attention, but one day she left unexpectedly for Paris. Shot in grainy black-and-white, “Somers Town” reminded me of those great movies in the 1960s during the French New Wave era. Its plot was relatively thin but the emotions were so complex that it was hard to say goodbye to the two characters after just 70 minutes of them getting to know each other. Despite Marek and Tomo coming from economically poor backgrounds, I loved that Paul Fraser, the writer, did not harden their hearts and their yearning for attention did not predictably lead to violence. In fact, he went the opposite direction. Tomo and Marek made mistakes as most people their age do but they were sensitive and had a clear view of what was right and wrong. Highlighting their positive qualities was a smart move because the picture’s running time was relatively short. By doing so, I immediately related to the characters and I had a chance to explore the dynamics of their friendship. There were more than a handful of very funny scenes but my favorite was when the duo stole a bag of laundry because Tomo did not have any clothes. The bag mostly contained women’s clothing and I couldn’t help but laugh when Marek told Tomo to look at the brighter side: the clothes may not have been for men but at least they were clean unlike the same clothes that Tomo had been wearing since he arrived in London. In return, Tomo made the clothes work but it was still painfully obvious that he wore a dress. I don’t know anyone who wouldn’t laugh or even crack a smile if they watched that particular scene. For a low budget film, I was very impressed with the originality, creativity and imagination that “Somers Town” possessed. It was apparent that Shane Meadows directed his film with passion and zeal because I had fun with it throughout. When the movie finally shifted from black-and-white to color, it felt like my eyes opened for the first time. I guess it was also how Marek and Tomo felt when they finally entered a culture so different from theirs. Suddenly, their futures looked bright.
Mary and Max (2009)
★★★★ / ★★★★
Mary (voiced by Toni Collette) was an earnest but unpopular eight-year-old girl living in Australia and Max (Philip Seymour Hoffman) was a whimsical Jewish man with Asperger’s Syndrome living in New York City and the two became pen pals in the middle of the 1970s. Initially, the two seemed to not have much in common other than the fact that they both loved the same television show because of the vast age difference, but as years went by we learned that loneliness was only one of the many things that strengthened their friendship. What started off as a cute story of a little girl believing that she was found by her parents at the bottom of a beer mug turned into an insightful exercise in animation with lessons such as what it really means to love ourselves despite our flaws and eventually reach out to others who might be in a similar situation as us. Like the best animated films, we come to know Mary and Max not just as characters from colorful and black-and-white worlds, respectively, but as people who likely exist out there in the world. They openly shared their goals in life, their insecurities, and in what ways they believe their pasts have helped shaped who they were. I loved that the picture did not shy away from showcasing negative emotions such as disgust, jealousy, and greed. I enjoyed the movie from an entertainment angle because it was very funny due to its quirkiness but the more I think about it, the more I’m impressed with the script’s level of intelligence and the subtle ways the characters changed over their many years of often very touching correspondence. Even though the picture lost its way somewhere around the introduction of Damien (Eric Bana) as Mary’s love interest, the final few scenes moved me because certain events were handled with such beauty and maturity. Instead of emotionally cheating the audiences, what had transpired felt right and true to itself. Written and directed by Adam Elliot, “Mary and Max” is an astute, dynamic and character-driven film that is appropriate for both children and adults. Despite some of the issues it tackled such as depression, addiction and losing faith to a higher power, there are important lessons to be learned from the movie (while some lessons were taken upside down for the sake of irony). Best of all, I admired the film for its honesty without sacrficing imaginative details that are worth exploring upon second viewing.