Please Give (2010)
★★★ / ★★★★
A married couple (Catherine Keener, Oliver Platt) living in New York City bought the apartment next door in hopes of expanding their home. All they had to do was to await the death of their elderly neighbor (Ann Morgan Guilbert) so they could move in and make the necessary changes. But the old woman, helped by her two granddaughters (Rebecca Hall, Amanda Peet), did not seem to show any sign of passing away any time soon. “Please Give,” written and directed by Nicole Holofcener, was an effective comedy, which at times made me feel uneasy, because it showcased unlikable people doing and saying things that were, in the least, inappropriate. In others words, it captured real life. Even though it made me feel uncomfortable, I constantly laughed because I could imagine myself making the same decisions as the characters did here. Many scenes were familiar. For instance, while at a restaurant or a diner, we could hear banal conversations of others from a few tables away. There were also scenes where the characters expressed, without holding back, their anger toward their grandparents without regard for people, mostly strangers, who just happened to be there. I liked its honesty despite how painful certain truths were. I also enjoyed how I wasn’t quite sure whether the director was being emotionally sincere or poking fun at the characters as it moved from one scene to another. When Keener decided to volunteer for mentally challenged kids, on one hand, I was touched because I was reminded of the time when I used to volunteer at an Alzheimer’s facility. On some level, I felt like she was serious about wanting to commit and make a difference on those children’s lives. On the other hand, I thought it was very amusing because Keener’s character was such an insecure person but was not even aware of it. She felt like helping the world (she found giving money to homeless people rewarding) but she had important unresolved issues such as her guilt regarding her job and her increasingly difficult relationship with her pimply-faced teenage daughter (Sarah Steele). When the material became emotionally complex, I thought it was at its best. “Please Give” focused on people’s insecurities and their inability to deal with the way they saw themselves compared to how they thought the world perceived them. Best of all, in order to remain honest with the material, the ending gave a sufficient sense of closure to its characters without being melodramatic or heavy-handed. It felt just right because, while not every problem was solved, I felt like the characters would continue to be a work in progress.
She’s Out of My League (2009)
★★ / ★★★★
I just realized that the more I watch Jay Baruchel, the more I like him. There’s something very geek-chic about him that’s just adorable–I don’t know if it’s the voice or the awkward body language but he manages to pull it off with such ease. In “She’s Out of My League,” directed by Jim Field Smith, he plays an airport security agent with dreams of becoming a pilot who one day meets a really good-looking girl (Alice Eve). After some coincidences and strange (but amusing) circumstances, she ends up asking him out on a date, leaving the lead character’s friends (T.J. Miller, Mike Vogel, Nate Torrence) shocked and confused. I enjoyed watching this movie as a whole but I think it could have been edgier and it could have used more focus in terms of the odd couple’s romance. I think the movie spent too much of its time with the highly obnoxious family (I think if I met them I would run the other way) and in a way, I saw it as an excuse to deliver the gags so it wouldn’t have to tackle the deeper psychology of an insecure man as often as it should have been. And although I did think that the main character’s friends were funny, they couldn’t just accept the fact that their geeky friend was going out with a gorgeous woman. Their sometimes lack of support irked me and it made me question whether they were really good friends. Perhaps the picture was trying to show the friends’ own insecurities through denial but it would have been nice if they didn’t make fun of the lead character as much. The bit with the ex-boyfriend (Geoff Stults) was also another distracting element that didn’t need to be there. Nevertheless, as a romantic comedy, I think the picture worked; it may have been pretty standard most of the time but there were nice moments when I felt like Baruchel and Eve had a good connection. I think the film was at its best when the two characters were just engaging in conversation about their dreams and failures with all jokes aside. We’ve all seen couples that make us think, “What the heck does she see in him?” This movie was essentially that little (sometimes nagging) thought in our heads. The lessons might have been obvious (beauty on the inside matters) but it’s nice to be reminded of it because there’s a universal truth to that lesson. “She’s Out of My League” has both laugh-out-loud and cringe-worthy moments (mostly with that annoying family) but I think it’s worth watching for its own merits.
★★★★ / ★★★★
“Adaptation.,” directed by Spike Jonze (“Being John Malkovich,” “Where the Wild Things Are”), had many weapons in its arsenal but its imagination was its most powerful. This was a film about many things: the writer’s struggle to adapt a novel to film (Nicolas Cage as Charlie and Donald Kaufman), a woman’s (Meryl Streep as Susan Orlean) desperation to break out from her loveless marriage and find another soul that she’s compatible with (Chris Cooper as John Laroche), sibling rivalry and the fear of being eclipsed by someone who shares our DNA (or worse, someone who we think is less talented than us), and the fusion of reality and fantasy to tell a story that is not only unique as a whole but utterly unforgettable every step of the way. I was also impressed with this picture’s ear for dialogue. Right from the get-go, the audiences get a chance to hear what was going on inside the main character’s head. And in under three minutes, we get to learn his insecurities, neuroticisms and outlook of the world. With such a rich collection of qualities we had a chance to absorb, we got to see him evolve from when he was at his worst up until he was at his best (which didn’t come without a price). I also enjoyed the scenes with Streep as the lonely author who had no connection with her husband. The way the director showed her lying awake thinking about her life next to her husband was touching and I could feel her silent suffering. Even though the choices she made toward the end of the film were not the best, I understood where she came from so I cared what would ultimately happen to her. Jonze’ ability to wash the material in mystery was outstanding; his use of foreshadowing and double/triple identities made the movie that much more alive and engaging. I thought it was amazing how one new piece of information could instantly alter the perspective from which we saw each character. Like his exemplary work in “Being John Malkovich” (how eerie it was to see the set and actors from that movie in this film!) and “Where the Wild Things Are,” “Adaptation.” had a lot of commentary about our psychologies and philosophies regarding our inner selves and the way influence other people’s lives. What I love about Jonze is he does not give us the easy answers and instead lets us think about what is right answer specifically for ourselves. I absolutely loved “Adaptation” because it was a cinematic experience that was surreal, satirical, stunning, self-aware and not afraid to reference to things that were random. Although it had a lot of insight to offer its audiences, it did not come across as pretentious or preachy. This is a film of rare quality and should be seen by those searching for creativity and vivaciousness.
No Regret (2006)
★★★ / ★★★★
Hee-il Leesong, the first openly gay director in South Korea who leads a gay-themed film, is someone to watch out for. “No Regret” is about a recently-turned-eighteen orphan (Young-hoon Lee) who leaves the orphanage and heads to Seoul to find a job. Unable to balance school and several low-paying jobs, he decides to work as a male prostitute with the hope of earning enough money to go back to school. The main character meets a rich upcoming businessman (Han Lee) several times including the strip club where he works. Eventually, after a plethora of inner and outer conflicts between the two, they finally fall for each other. But that’s only the beginning of their problems. What I love about this picture is that it didn’t glamorize male prostitution. It managed to paint a picture that people who are involved in such underground jobs are miserable and messed up yet still have human longings that are almost never achieved. They keep telling themselves, “If I earn enough money, I’ll get out of this place and lead a better life” but insecurities of not being good enough for “normal” society soon take over and they get stuck from moving on. Young-hoon Lee impressed me because he can brood really well. When he cried (and he did several times), I felt the sting of his depression and desperation. The moment when I could identify with him the most was when he expressed his insecurities to his lover; mainly that he’s poor and not well-educated. To me, that explains why he initially did not want to get in a relationship with Han Lee’s character. The lead character’s lover is rich, educated and has several options with his life. When they finally get into a relationship, that jealousy never really goes away and it sucks them into a negative spiral. I also thought that the lead character feels guilty for taking away his lover’s opportunities just to be with him. That negative spiral is then aided by Han Lee’s family because they want him to marry a girl despite finding out that their son is a homosexual. The complexity of the situations and morals of these characters are well-integrated in the script so I enjoyed watching the story unfold. However, my biggest problem is the film’s last twenty minutes. The events that transpired were so out of character, I thought the whole sequence was a dream (or a nightmare?). Though the ending did make me laugh in some sick, twisted way (one either loves it or hates it, I suppose), I feel like it could’ve ended better. I felt like the moral implications that pervaded the rest of the film were thrown out the window and, I must admit, I felt a little cheated. Nevertheless, I’m giving this a recommendation because the acting, script, and story are commendable. I’m looking forward to Hee-il Leesong’s next film because he proved to me that he is very capable of telling stories that are both rewarding and unpredictable.