Cedar Rapids (2011)
★★★ / ★★★★
Tim Lippe (Ed Helms) was an honest insurance salesman. He was comfortable living in a small town and changing people’s lives for the better. He was described as the guy who could have gone places but actually didn’t go anywhere. When one of his colleagues passed away due to autoerotic asphyxiation, he was asked by his boss (Stephen Root) to attend an insurance convention in Cedar Rapids, Iowa and win an award for their region. Tim was warned not to interact with Dean Ziegler (John C. Reilly) but, as luck would have it, they ended up sharing a hotel room. Written by Phil Johnston and directed by Miguel Arteta, “Cedar Rapids” was surprisingly human. I expected the film to rely solely on awkward situations and slapstick comedy to generate most of its laughs. Helms had a knack for the former, while Reilly built his career on the latter. The two actors fed off one another. When the camera was transfixed on them, my body automatically prepared itself to laugh because my brain knew that Helms and Reilly understood both the value of a punchline and, more importantly, precision of delivery. But the movie wasn’t just about the laughs. It was also about Tim venturing out into the world and realizing how fun, dangerous, and rewarding it could be to make friends who were entirely different from himself. There was one very amusing scene when Tim was shocked to find an African-American man, Ronald (Isiah Whitlock Jr.), in his room. Furthermore, I was particularly interested in Tim’s relationship with Joan (Anne Heche), a married woman with kids. She saw the convention as a means of escape from the routine and, although much of it was unsaid, I believed she saw something in Tim that she craved, perhaps a quality that her husband lacked, but could never have because she already had a life. The way Heche delivered certain looks inspired me to dig beyond what her character was willing to outwardly share. There was a certain sadness between the two scavenger hunt partners and the film’s final moments worked because I believed their relationship, not necessarily romantic, would continue. Back home, Tim was involved with his former grade school teacher (Sigourney Weaver). The writing could easily have been lazy, relying on jokes that involved the word “cougar,” but I loved that the material didn’t look down on Tim and Macy’s relationship. Sure, she was over fifteen years older than him but a handful of scenes suggested that they shared something meaningful. “Cedar Rapids” took ordinary people and allowed them to work, play, and form friendships in an honest, emotionally resonant manner. More mainstream comedies can only aspire to be as such.
Capitalism: A Love Story (2009)
★★★★ / ★★★★
When I was younger still living in the Philippines, I had this idea that America was a great place where everyone was happy because everyone had an equal chance to get what they wanted in life. But now that I’m a little older and living in America, I’m beginning to see this country for what it really is: a machine designed to make the rich even richer and the poor even poorer. When I talk to my friends who came from different countries in Europe about how different things are in America, especially about healthcare and education, I can’t help but feel like America is a second-rate nation and that progress (if there is any) is too slow. “Capitalism: A Love Story,” written and directed by Michael Moore, tackled the topic of capitalism and the many components that drives it forward. I’m not going to mention all the points he brought up even though they are indeed very interesting ones, but there were three things from the film that struck me: teenagers being sent to private juvenile facilities for extended amounts time (without any sort of hearing involving extension changes) because they committed so-called crimes that I think were mere inconveniences or just a part of youth, companies buying insurance policies for their workers (without the workers knowing about it) so the companies can get money in the event of their workers’ death, and Franklin D. Roosevelt’s touching speech at the end of the documentary which summarized what America should be. What I didn’t like about the film, however, was that sometimes Moore was too enthusiastic about getting his point across to the point where he got too cheesy in terms of using certain movies or television shows. It was all very dramatic but I did not find those elements convincing. In fact, I found them a bit distracting. I thought his strongest points came about when he actually interviewed members of the Congress (with real footages from Congress and the frustrations of various politicians about the current state of the country) and people who are taking a stand for the things they more than deserved (such as payment for the time they put in at their jobs). If those dramatic–sometimes cartoonish–footages were taken out, I think this film would have been more focused than the riveting and insightful “Sicko” (probably my favorite film by Moore to date). I found a lot of reviews discrediting this film for the fact that Moore directed it and everyone assuming that he’s just going to target Republicans. Well, he also showcased Democrats making deals and promises that are, from my perspective, not only dishonest and unethical but ultimately immoral. I say “immoral” because they’re making decisions for the American people and not just for their own private lives. “Capitalism: A Love Story” is an incisive and honest look about some of the (biggest) injustices in America. One may or may not agree with that statement but one cannot deny the current unhappiness of the American people. And what’s sad is that the unhappiness is only growing.
★★★★ / ★★★★
One of my professors in a psychology course about psychological disorders stated that a person with an eating disorder will always have an eating disorder. I took a lot of useful information from that class but I think that statement is the one I’ll remember the most for two reasons: I was very shocked when she said it and though I don’t want to accept it, I know deep inside that I agree with her. In “Thin,” directed by Lauren Greenfield, we get a chance to follow four women with varying ages and backgrounds concerning their treatment in Renfrew Center in Florida. I don’t want to mention the four women’s names because I believe it’s their right to remain anonymous especially with an illness like anorexia and/or bulemia. What I loved about this film was it really managed to cover a range of symptoms of different kinds eating disorders without sugarcoating anything. The documentary showed us how their families eventually became tired of their daughters because being committed in a facility was not foreign to their children, especially when it costs a lot of money. The documentary also showed us the neglect of insurance companies for these people; I know that insurance companies are driven by money but I can’t help but get angry whenever they decide to not cover a girl’s treatment just when she shows signs of getting better. The therapy sessions were heartbreaking for me because the girls were really honest about their feelings–feelings about their fear of disappointing their families and the people that they live with in the treatment facility. Oddly enough, not many of them admitted to being afraid of disappointing themselves. Certain things they said really got to me such as when one of the girls said that she’s so willing to be skinny to the point where death wouldn’t stop her from achieving her goal. That irrational belief to want to be skinny really stood out to me because I sometimes forget about the importance of that adjective. It solidifies the fact that these girls not only need help when it comes to getting food in their bodies but also to change the way they think. I get so upset whenever I hear friends or read posts from message boards that people who have eating disorders are just vain or that they just lack motivation. To be quite frank, when people say those things, they really show their ignorance. Have a little sensitivity and try to do a little research before you judge someone with a really serious illness. Most of the time, being irrational is out of one’s control. I thought this movie was exemplary even though it did lose focus for fifteen to twenty minutes somewhere in the middle. Everything about it was fascinating. Considering that a lot of people have body issues, I think watching this movie will help a lot of people who have friends or family who might have an eating disorder to spot the symptoms and how to provide invaluable support.
Double Indemnity (1944)
★★★★ / ★★★★
This noir classic about a man (Fred MacMurray) who works for an insurance company who plots with a woman (Barbara Stanwyck) to kill her husband (Tom Powers) was impressive through and through. Unhappily married to her husband because she married him only for the money, Stanwyck suggested to MacMurray that they commit murder, collect her husband’s insurance money of $100,000 (assuming the husband dies on a train–a situation covered under the double indemnity clause) and be together forever. Only things started to go seriously wrong when an insurance investigator (Edward G. Robinson) began to feel like the death was due to murder rather than accidental because everything was set-up so perfectly. I enjoyed the fact that the lead character (played by MacMurray) narrated the picture and told the audiences outright how everything was going to turn out. So then the focus turned to the journey of two conniving individuals so blinded by greed and passion, they failed to consider the ramifications of what could happen after the deed was done. Stanwyck’s character was an expert of hiding her true emotions and an excellent liar; MacMurray’s character was obsessed with details and had a natural ability to think ahead. But both of them needed each other and that was ultimately their downfall (in which a train became a perfect metaphor). I thought it was fascinating how we saw the story through the antagonists’ perspectives. With most noir films I’ve seen, the story is always through the good guys’ eyes so watching this movie was a refreshing change. “Double Indemnity,” directed by Billy Wilder, being a noir film, I expected it to have a great ear when it comes to dialogue and a stunning use of black and white cinematography. What I didn’t expect was for the script to be very amusing, especially in the first half when MacMurray and Stanwyck conversed for the first time. It provided a nice contrast with the film’s darkness and cynicism. This movie kept me on my toes because just when I thought the characters were at the crest of the wave and were going to get away with everything, they hit a trough just as quickly and they started to figure out ways how they could survive even if it meant sacrificing one another.