Cabin in the Woods, The (2011)
★★★★ / ★★★★
Five friends decided to drive to an isolated cabin in the middle of a forest for a needed weekend getaway. While playing a round of Truth or Dare, the cellar popped open. Curt (Chris Hemsworth), the athlete, said the wind must’ve done it. Marty (Fran Kranz), the fool, scoffed at the improbability of such a statement. Jules (Anna Hutchison), the whore, was just dared to make out with a wolf hung on the wall, tongue and all, so strange and comedic that it was almost erotic. As a dare, Jules chose Dana (Kristen Connolly), the virgin, to go down the cellar and investigate. Her eyes scanned over trinkets behind a shroud of black. She screamed. Holden (Jesse Williams), the scholar, came rushing to her assistance. Written by Joss Whedon and Drew Goddard, “The Cabin in the Woods” was drenched in irony and satire but it also worked as an astute criticism of the stagnancy of the kinds of horror movies released since the slasher-fest eighties. In this instance, the five friends were appropriately not given background information because we’ve familiarized ourselves, to the point of being inured, to their respective archetypes. Instead, much of the screenplay was dedicated to challenging our expectations of them as well as their rather unique circumstance. For example, with Curt’s impressive physique and propensity for holding onto a football like it was a requisite organ, we didn’t expect him to know much about books let alone cite a respectable author. There was a very funny joke about his and others’ stereotype, so we were constantly aware that the material was one step ahead of us. I watched the movie with a smile on my face because I found it so refreshing. Instead of me sitting there trying to psychically push the material to reach its potential, it was ambitious enough to set the bar for itself. It challenged its audience by thinking outside the box in terms of the inherent limitations of the genre. We’ve all wondered why characters in scary movies, after escaping an assault mere ten seconds prior, tend to drop their knife, gun, or whatever weapon that just saved their lives. The film acknowledged this phenomenon without flogging a dead horse. The first half took inspiration from Sam Raimi’s “Evil Dead II,” although more tame with regards to the comedy and horror. The second half, on the other hand, was a surprisingly electric conflation of twisted originality that seemed to stem from a series finale of a television show, cartoonish gory violence, and exorcism of authority. What connected the two disparate halves was our curiosity about what was really going on. Notice the characters did not explain anything to us in detail. The filmmakers were smart enough to assume that we were capable of observing, thinking on our own, and putting everything together like a puzzle. By simply showing us what was happening without having to explain each step and why certain events had to transpire a certain way, as a dry lab report would, it was already one step ahead of its peers. I wish, however, that the last few scenes didn’t feel so rushed. So much tension was built up until the final confrontation but instead of milking our nerves, I felt like it was in a hurry to let go of the weight it collected over the course of its short running time. Directed by Drew Goddard, “The Cabin in the Woods” was a fun frolic in the dark forest of clichés because a handful of them were subverted with fresh ideas. I wouldn’t want to come across that towering zombie that used a bear trap as a weapon, though. He could give Jason Voorhees and Michael Myers a run for their money.
Young Adult (2011)
★★★ / ★★★★
Mavis Gary (Charlize Theron), divorced and currently single, was finding it a bit difficult to focus on finishing her final novel for a formerly popular young adult fiction series. Every time she sat down to write, she found her mouse scurrying its way to her inbox so she could look at an e-mail from an ex-boyfriend in high school, Buddy (Patrick Wilson), who just had a baby and was very happily married with Beth (Elizabeth Reaser), a drummer in a local girl band. In Mavis’ mind, the e-mail was some sort of signal that Buddy wanted to rekindle their relationship. So, Mavis packed her bags, dog in tow, left Minneapolis behind, and drove to the sleepy town of Mercury, Minnesota. Written by Diablo Cody, “Young Adult” was another story of an unhappy woman who felt compelled to find love in the most inappropriate circumstances, but what allowed it to feel fresh was Theron’s ability to play with nuance. Mavis was not a likable person. She acted like she was above everyone else because, unlike most of her peers, she made it out of her hometown and succeeded in establishing a life in the city. Most importantly, through her creativity, she was able to make a name for herself by being a ghost writer. Yet there were plenty of moments when it was impossible for us to not feel sorry for her because, despite her ambition and determination, she was deathly short-sighted. A lot of us know people exactly like her: unable to detect if she’s overstepping boundaries, desperate for approval even from those who barely knew her, and living a life like she never had to say sorry. I was supremely embarrassed for Mavis because she had no shame in throwing herself on her former flame. Since she wanted him back so badly, she was more than willing to throw her successes out the window and act like a pimply teen girl with a big crush on a hunky guy. But she was no teen nor was Buddy a stud. Because I felt that Mavis was an exaggerated version of Theron and the actress wasn’t afraid to make fun of herself, I was comfortable laughing at her and with her. A plethora of negative adjectives could describe Mavis but being devoid of a sense of humor was not one of them. Her jabs might be pricked with poisonous needles, but I loved that she was direct and didn’t waste any time thinking about how she was going to get what she wanted. The person who consistently attempted to talk some sense into her, serving as the audience’s voice, was Matt (Patton Oswalt), a geeky guy carrying a bit of extra weight who was jumped by a bunch of jocks in high school because they mistakenly suspected he was gay. The most striking scenes involved simple conversations between Mavis and Matt; Mavis was the seemingly impenetrable wall and Matt was an untiring hammer that drove nails into it. They clicked because both were stubborn in their own way. Directed by Jason Reitman, “Young Adult” was entertaining because the screenplay was sharp and full of irony. Although there was vitriol in the dialogue, it did not overshadow real human emotions like desire, fear, and shame.
O’ Horten (2007)
★★★ / ★★★★
Odd Horten (Baard Owe) reached the magic number 67, the point in which was to retire from his job as a locomotive engineer that lasted for over forty years. He wasn’t quite happy about the transition because his career was all he had. His friends (Henny Moan) were on the road which meant he wouldn’t see them as often. It seemed like he didn’t have a family other than his mother (Anette Sager) who was in a nursing home. It also meant breaking his coveted routine in order to find new and exciting turning points that served as reminders that life was worth living. Written and directed by Bent Hamer, the film’s greatest weapon in its arsenal was finding a great sense of humor in the mundane. Without an exact vision and a controlled direction, “O’ Horten” would have failed to gather enough emotional punch to get its audiences to care for Odd, ironically named because nothing too odd happened in his life up until his retirement. Instead of going for the easy laughs, it wisely chose to restrain. For instance, when Odd was locked out of the building, in order to reach the party his friends and colleagues threw for him, he had to climb the apartment building and sneak into a family’s home. Odd crossed paths with a child (Peder Anders Lohne Hamer) who couldn’t sleep. If the picture had been Americanized, I could imagine the main character being caught by the boy’s parents, suspected of malicious intent, and scrambled his way out of the apartment as he tripped over toys (or, since Odd was an aging man, maybe he would have slipped and hurt his back because older folks getting hurt was supposed to be funny). Instead, he didn’t get caught. There were no surprised parents and toys near the doorway that served as traps. There was only Odd staying with the boy until he went to sleep because the boy asked him to. As Odd sat on the chair, he was left with his thoughts. We didn’t necessarily know what he was thinking. He could be thinking about his retirement and what he planned on doing next. Or maybe thought about why he didn’t have a family of his own. The next scene was equally compelling. When he visited his mother in a nursing home, his mother didn’t utter a single word. But she didn’t have to. The drama was innately there. There was something heartbreaking about a son attempting to communicate with his mother but she didn’t seem to understand what he was trying to say. It reminded me of the times when I used to volunteer at Alzheimer’s care homes. Sometimes an unreciprocated affection is enough for us to become emotionally invested. “O’Horten,” with an inspired photography, had oddities but it didn’t allow the absurdities get in the way of shaping a defined emotional core. I think it’s something special when a film is set in a cold locale yet it’s able to exude immeasurable warmth.
You Will Meet a Tall Dark Stranger (2010)
★★ / ★★★★
Helena (Gemma Jones) decided to see a fortuneteller (Pauline Collins) after the divorce between her and her husband (Anthony Hopkins) had been finalized. She claimed she needed direction, but we quickly realized that she was clingy, didn’t know how to keep certain opinions to herself, and was hopelessly gullible. Maybe the divorce was a gift or a breath of freedom for her husband. Sally (Naomi Watts), Helena’s daughter, was also having trouble with her marriage. Roy (Josh Brolin), Sally’s husband, was having a difficult time finishing his book and was weighing the possibility of having an affair with a beautiful woman in red (Freida Pinto), his muse, across their apartment building. On the other hand, Sally was considering to have an affair with her boss (Antonio Banderas) while working in an art gallery. “You Will Meet a Tall Dark Stranger,” written and directed by Woody Allen, was a missed opportunity. The story was interesting, the coincidences didn’t feel heavy-handed and the various ironies between and around the characters were accessible. However, the film felt like a satisfying but incomplete novel. Just when Allen needed to deliver the punches involving the consequences that the characters had to live with due to their unwise actions, the screen abruptly faded to black. It left me wanting more but not in a good way. The picture’s lack of resolution highlighted its flaws, especially its highly uneven tone. Allen spent too much time trying to convince us that what we were seeing was comedic. As a result, he was stuck in highlighting the characters’ quirks instead of exploring other dimensions that would make us want to get to know more. For instance, the relationship between Hopkins’ character and his young girlfriend (Lucy Punch) was mostly played for laughs. The former’s quirk was, despite his age, he was convinced that he was still in his thirties. Like his ex-wife, he was inclined to self-delusion. The latter was a classic golddigger who loved to buy expensive clothing and accessories in exchange for sex. She was a former callgirl but, in reality, she never left her profession. The film only turned darker toward the end when Hopkins’ character, after the woman revealed that she was pregnant, threatened her that the baby better have been his or else. The comedic element was gone and we were left to stare at the character’s desperation, hurt, and anger in his eyes. Unfortunately, that was the last scene between the old man and the golddigger. The same hustle-and-bustle applied to the other characters and were left in the dust wondering what happened next. Not unlike Helena, “You Will Meet a Tall Dark Stranger” needed a strong direction with clear vision. The important questions it brought up about life were cheapened and it ultimately felt like Philosophy 101.
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.
X-Files, The (1998)
★★★ / ★★★★
In 15,000 B.C., an extraterrestrial-looking creature attacked a caveman. In present day, a boy fell into a hole and was attacked by the same type of creature but in liquid form. Despite the fact that The X-Files had been shut down, Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) attempted to uncover a government conspiracy involving the alien life form and a possible alien colonization on Earth. Having seen the first five seasons of the highly popular and ingenious television show, most of the film made sense. However, I was not convinced that people who had not seen the show or had only sporadically seen a few episodes would be able to follow the story and ultimately find it rewarding, let alone recognize the references it had to specific episodes. Non-regular fans of the show might not feel the same impact when certain key characters met their demise. However, what I loved about it was Chris Carter and Frank Spotnitz, the writers, remained true to the material, such as highlighting the strictly professional relationship between the two protagonists, it brought something new to the table involving the Black Oil (which started in the third season), the important of science to possibly explain paranormal occurrences, and the characters’ quest to capture the ever-elusive truth. It was also able to retain its humor with the actors’ typical deadpan delivery of their lines to situational false alarms drenched with irony. The picture reminded me of science fiction movies in 70s and 80s because it shrouded the alien creatures in darkness. Even though its special and visual effects were capable of delivering at a first-rate level, it was very careful from revealing too much. Only toward the very end did I think it went a bit overboard with the visual effects. In the fifth season, Mulder, for good reasons, lost his faith about extraterrestrial life being on Earth. I understood that the writers needed to restore his faith so the show could continue. However, showing us too much felt strange because the show thrived upon implications. I felt like Carter and Spotnitz could have found a better way to change Mulder’s mind. “The X-Files,” or “The X-Files: Fight the Future,” directed by Rob Bowman, was a solid movie for ardent fans. It moved the story forward by answering some of our important questions from the past five seasons as well as asking new ones. Unfortunately, it could just as well have worked as a three-part episode arc. There were other “mythology episodes” that deserved to be adapted as a feature film.
★★★ / ★★★★
Set in a post-apocalyptic world where food was very scarce and selflessness was rare, a former clown named Louison (Dominique Pinon) moved into an apartment complex where the residents depended on a butcher (Jean-Claude Dreyfus) to give them food given that the circumstances were right. That is, every once in a while, an unsuspecting person, like Louison, would move into an empty apartment and later be murdered, chopped up, and served to the residents. Things turned complicated when Louison fell for the butcher’s daughter (Marie-Laure Dougnac) and vice-versa. The daughter knowing the happenings in the apartment complex tried to seek help from people who lived underground that did not eat other humans. I loved the look of this film. In every frame, there was a beautiful yellow tinge that highlighted the desolate existence of the characters. I also noticed the picture’s great attention to sound, not just in terms of soundtrack in the foreground and background but the characters actually creating music to serve as a distraction from their increasingly desperate living conditions. I thought it was creative because it able to take very different sounds and arrange it in such a way that they all complemented each other. As for the story, it was consistently fascinating but it could have been trimmed. While the involvement of the sewer dwellers was necessary, there were far too many scenes that painted them as too goofy, almost infantile. The slapstick did not work because I got the impression that they were supposed to be the moral center (people who did not eat human flesh), thus the savior of Louison and the butcher’s daughter. It would not have hurt the script if the underground people were actually intelligent and strong. Just because they lived underground for, as the film suggested, quite some time, they need not have been cavemen-like. In this case, playing against the obvious would have been far more interesting. Despite its shortcomings, the film was strong. I highly enjoyed its quirks, wit, and irony because the images on screen had double meanings so it kept me on my toes. For example, when the residents tried to break into Louison’s apartment, I thought about George A. Romero’s “Night of the Living Dead” with a modern twist: The good guys were inside struggling for survival, while the bad guys (who were not undead) were outside craving for flesh. They, too, were struggling for survival. Directed by Marc Caro and Jean-Pierre Jeunet, “Delicatessen” was a treat in which the jokes were served in just the right amount of proportions. It always had new jokes peeking at each corner so specific types of comedies did not overstay their welcome. Film lovers who have a penchant for the macabre, satire, cannibalism, and post-apocalypse worlds will most likely find this movie as a delectable gem.
★★ / ★★★★
The Maitlands (Alec Baldwin and Geena Davis) was a bubbly couple on “vacation” in their beloved big house. Sadly, they died via drowning when their car plunged into a river. A couple of months later, initially unaware that the former owners tragically passed away, the Deetz family (Jeffrey Jones, Catherine O’Hara, Winona Ryder) moved into the Maitlands’ former home. After a few failed attempts to scare away the new family, the dead couple recruited the nasty Beetlejuice (Michael Keaton), a self-proclaimed “bio-exorcist” with a talent for verbal double entendres. Directed by Tim Burton, “Beetlejuice” was quirky, fast-paced and had a solid grasp of dark and sometimes macabre humor. I enjoyed watching it as a kid because even though it had elements of horror, the scary scenes were light and the irony embedded in the images (such as a skeleton that obviously died from severe burns claimed that he wanted to quit smoking) overshadowed the grotesque. However, seeing the film from an adult’s perspective, it crossed the line between cute and cheesy too many times. I cringed at the scenes when the characters broke into songs. Once was enough because I understood that the characters were being possessed by ghosts but after several times it happened, the joke became stale. I felt like the material was desperate to entertain but it did not need to because it was at its best when the jokes flowed naturally. Small twists regarding our archetype of haunted houses elevated the picture. For instance, I loved the scene when Baldwin and Davis decided to scare the family by putting designer blankets over their heads. I would have expected their strategy to work because if I was the one that saw two figures with blankets over their heads in an empty hallway, I would have ran out the house in record time. Instead, Burton injected a small twist by having Ryder’s character be weird but friendly and open to paranormal happenings in order to show us that there were other dimensions to her gothic high school stereotype. There was one scene that I found touching which I thought could have been explored further. That is, when Ryder’s character decided that she wanted to die at such a young age. It was a shame the material shied away from the sadness in order to deliver more comedy that did not work half of the time. Nevertheless, I believe “Beetlejuice” is worth watching because it had a spectrum of humor that ranged from deadpan, slapstick to slightly disturbing.
Scream 2 (1997)
★★★★ / ★★★★
Two years had passed since the Woodsboro murders. Sidney Prescott (Neve Campbell) was now in college majoring in drama, Gale Weathers (Courteney Cox) became a best-selling author, and a movie known as “Stab,” inspired by the aforementioned killing spree, had just been released. But when a couple (Jada Pinkett Smith, Omar Epps) was murdered during one of its screenings, Dewey (David Arquette) quickly, despite the limp, ran to Sidney’s protection and movie geek Randy (Jamie Kennedy) was present to explain the rules of horror sequels. Written by Kevin Williamson and directed by Wes Craven, “Scream 2” was able to defy the odds by pointing its fingers on bad scary movie follow-ups without being one itself. The film worked on multiple levels because it had more than one joke that worked. For instance, it acknowledged the idea that horror pictures seemed to be lacking in African-American characters and other minorities. Aside from the doomed couple in the memorable first scene, we knew the joke made a lasting impression when a minority was randomly placed next to one of the main characters and we couldn’t help but chuckle. However, it didn’t feel forced because the story took place in college. While the murder scenes were less creative–but more gory and elaborate as Randy stated–than its predecessor, they retained a level of cheekiness, especially when Sarah Michelle Gellar was given the chance to shine as the “sober sorority sister,” so it was fun to watch. We knew that her decision to go upstairs, as we learned in the first film, was a very bad idea but she did anyway. Downstairs, it seemed like she knew how to defend herself so maybe, despite being blonde and pretty, she would be lucky enough to escape. But it wasn’t just about murders on campus. Cotton Weary (Liev Schreiber), the man Sidney wrongly accused of killing her mother, had just been released from prison. The fact that he had motive to take bloody revenge and his thirst for fame warranted serious suspicion. It was a reminder that we couldn’t always trust Sidney’s judgment which was a small twist from typical slasher flicks where we take comfort in the virgin making all the right decisions to make it to the very end. The film spent more time on the characters and worked on the undeveloped strands from the first installment. What remained the same was everyone was a suspect. From Sidney’s pre-med boyfriend (Jerry O’Connell) and sassy friend (Elise Neal), Randy’s movie-loving classmates (Timothy Olyphant), to the reporter (Laurie Metcalf) desperate for the latest scoop. “Scream 2” was a vat of self-awareness; I relished every witty line and irony within an irony. Most impressive was sometimes the joke and horror came hand-in-hand.
★★★★ / ★★★★
Sidney Prescott (Neve Campbell) was left home alone because her father had to travel for business. That probably wasn’t a good idea because one of her friends, Casey (Drew Barrymore), had just been butchered by Ghost Face, a masked figure who had a penchant for calling women and asking about their favorite scary movie. Written by Kevin Williamson and directed by Wes Craven, “Scream” solified its place in the horror genre because it successfully parodied slasher flicks that plagued the 70’s and 80’s without becoming another forgettable bloodbath. Or worse, turning into something it wanted to poke fun of. Half the fun of this film was that the characters had seen a bunch of scary movies. References from Paul Lynch’s “Prom Night” to Stanley Kubrick’s “The Shining,” most of the characters knew that running into a dark room and asking, “Who’s there?” meant a gruesome death. And deservingly so. Horror movies, in essence, is survival of the fittest. The colorful characters were aware of the rules (yet ironically breaking them) and by acknowledging such rules, the audiences had a feeling that anything could happen. Everybody was a suspect. There was Casey’s father who had gone missing, an ambitious reporter named Gale Weathers (Courtney Cox) who was willing to do whatever necessary to deliver the breaking news first, and Deputy Dewey (David Arquette) who was never taken seriously as a cop because of his boyish good looks. Sidney’s friends were suspects, too. Sidney’s boyfriend (Skeet Ulrich) was very frustrated because she wouldn’t give up her virginity, Randy (Jamie Kennedy) and his love for horror pictures was a red flag, Sidney’s sassy friend (Rose McGowan) was perhaps too supportive of her, and Stuart (Matthew Lillard) was just too strange and energetic–perhaps he needed an extracurricular activity which involved running around and cutting people up. Or maybe Sidney was just losing her mind because she had not yet moved on from her mother’s murder which happened to be exactly a year ago. What made the film even better was the finer details. Some of the characters’ names were references to other famous horror movie characters (like Billy’s last name being Loomis, a nod to Dr. Sam Loomis in John Carpenter’s “Halloween”) while others were chuckle-inducing images (like the school janitor’s name being Fred and wearing red and green striped shirt, a wink at Freddy Krueger in Craven’s “A Nightmare on Elm Street”). It was clear that the director loved the movies he cited. By highlighting the unspoken rules and exposing their formulaic silliness, Craven reminded us why we enjoyed being scared and then laughing at ourselves (after a couple of days) for being so scared once we got home to the point where we rushed in turning on all of the lights so we could feel safer. “This is not a movie,” Sidney claimed. I wouldn’t be too sure.
Men in Black (1997)
★★★ / ★★★★
The opening scene of the highly successful “Men in Black,” both in box office results and audience approval, featured a group of border patrolmen stopping a vehicle suspected of carrying aliens/illegal immigrants. Little did they know that one of the passengers was an actual alien from outer space. The first scene rightfully set the tone of the rest of the picture. There were a handful of clever and funny double entendres, one of the most notable being an alien cockroach inhabiting a human body (Vincent D’Onofrio) posing as a bug exterminator. It also had a level of irony. Enter Will Smith as an NYPD cop–eventually renamed Agent Jay–recruited by Agent Kay (Tommy Lee Jones) to be a member of the government designed to protect humanity from all things extraterrestrial. Agent Kay was serious and he spoke in a monotonous manner (perhaps his performance was influenced by a television show called “The X-Files”). Agent Jay was lively and had a penchant for cracking jokes and wielding big weapons. They were amusing in their own ways so we cared about them. Right off the bat, we felt that they had great chemistry which the film sometimes used as a crutch when it diverged its focus from the main storyline which involved the possible destruction of the human race if a certain jewel wasn’t delivered to its rightful owner. For instance, one distraction was Agent Jay’s romantic interest toward a woman (Linda Fiorentino) who worked in a morgue. However, I didn’t mind its occasional lack of focus because it was very fast-paced and it never forgot to have fun. It kept me curious. When the woman examined a dead body and she found something curious inside it, the camera did not rush to show us what she saw. The material was smart enough to let us think about the oddity. More importantly, it impressed me because “Men in Black” proved that a film about the end of the world can be both successful as a sci-fi comedy and a commercial project. Unlike Roland Emmerich’s disappointing “Independence Day,” this movie captured a sense of fun within the dangers that were unfolding before our eyes. Based on the comics by Lowell Cunningham and skillfully directed by Barry Sonnenfeld, “Men in Black” may have felt small in scope but the rewards were undeniably big. It wanted to engage its audiences instead of spoon-feeding us information. For a movie about a world inhabited with aliens, I admired that it didn’t offer interminable scenes which served to explain. It simply showed. And that may have been its main recipe for success.