★★★ / ★★★★
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.
The Son (2002)
★★★ / ★★★★
“Le fils” or “The Son,” written and directed by Jean-Pierre Dardenne and Luc Dardenne, tells the story of a sixteen-year-old (Morgan Marinne) who is taken under the wing of a grieving carpenter named Olivier (Olivier Gourmet) who lost his son five years ago. As the film goes on, Olivier becomes more and more interested in the teenager and not until we meet Olivier’s wife (Isabella Soupart) do we find out exactly why he is so fixated on his new apprentice. This is probably one of the most bare-boned films I’ve ever seen but it has such a powerful emotional wallop. I can understand why a lot of people are immediately turned off by this movie because not a lot of things happen on the surface. The dialogue was minimal and the camera had a penchant for close-ups to really absorb the nuances in the facial expressions of the actors. I argue that the film is very eventful when it comes to the internal rage and depression that each character is going through. Yet they also want to not be angry anymore and to move on with life. Just looking in their eyes made me feel so sad because I felt as though they had a story that they were ashamed of and would do anything to keep hidden. Once that connection is made between the two leads and the audience, each movement was purposeful and had some kind of meaning. I was really curious about whether Olivier wanted to hurt the teenager in some way or if he has something else in mind. The silences that they shared were so painful and awkward to watch at times yet I thought it was very realistic. When I think about it, there are some days when I say less than ten words to another human being because either I’m so into my own thoughts that I don’t even notice or I actively choose not to speak to avoid some kind of collision. The directors really knew how they wanted their story to unfold and it’s a shame because the majority of less introspective viewers would most likely miss the point. There’s a lot to be said about “Le fils” but this is the kind of film worth discussing between two people who have seen it than between a reviewer and someone contemplating of seeing it. The organic manner in which the picture revealed itself to me touched me in a way that it was almost cathartic. If you’re feeling like watching something that doesn’t conform to Hollywood typicality, this is definitely a great choice. My advice is to be patient during the first twenty to thirty minutes. It will hook you in when you least expect it.
★★★ / ★★★★
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.
The Sting (1973)
★★★★ / ★★★★
I’ve heard a lot of great things about this film back when I was not yet in love with the cinema but never actually tried to search for it. I recently got around to watching this picture because I was in the mood for a classic story about American con men. What I loved about “The Sting” is the partnership between Paul Newman and Robert Redford. Each of them brought something to the table that the other one lacked, so having them together on screen was a joy to watch. I’ve seen a few of Redford’s more modern movies but none of them comes close to his performance here. In the beginning of the film, I thought he looks like a man who’s just in it for the money (and maybe a little bit of revenge) but as the film unfolded, among the chicanery and greed, he surprised me. He played the character with such honesty and introspection to the point where I realized the real reason why he does the things he does. Even though he cons other people, he feels remorse and is aware that he’s just like anybody else: capable of loneliness and hoping for a break from it all. As for Newman, I haven’t seen him in a lot of movies but this convinced me that I should. Behind those bright blue eyes, I found a certain connection–a sort of power–that is hard to come by in modern cinema. I must also commend the director, George Roy Hill, for the excellent pacing and the way he told the story. Yes, the 1930’s look of the film is magnificient–from the shiny vintage cars, exquisite clothes, colorful buildings up to the certain dialects the characters used–but without that feeling of wide-eyed excitement, all of those elements would’ve gone to waste. I thought this picture had a nice balance between thrill and comedy. Even though it’s comedic 80% of the time, that 20% of darkness peeks at the audience from time to time and that’s when I really I got involved. I wish the movie explored that darkness a bit more because it reminded me of modern gangster films’ certain styles and attitude. On top of all that, “The Sting” has a handful of twists and double-crossing that I didn’t see coming. This is a must-see.