★★★★ / ★★★★
Francis (Xavier Dolan) and Marie (Monia Chokri) were best friends. They relished vintage fashion, enjoyed watching classic films, and quoting respectable poems. But those weren’t all they had in common. When they met Nicolas (Neils Schneider), a curly-haired blonde with a bone structure of a Greek god, the foundation of Francis and Marie’s friendship was tested. Written and directed by Xavier Dolan, “Les amours imaginaires” told its story through the senses. Slow-motion shots were prevalent for a reason. Francis and Marie’s rivalry was mostly shown in an insidious manner. It was only natural that two friends would hide their jealousy from one another to avoid hurting each other and themselves. The slow movement of the camera magnified the little things like a fake smile or a judging look. It also highlighted the pain when reality did not meet one’s expectations. For example, when Francis and Marie greeted Nicolas at a party, Francis noticed that Nicolas hugged Marie for much longer. Francis tried to play it off as if it was nothing but we knew better. The slow motion revealed to us the many questions in his head. Did the Adonis adore Marie more than him? Dolan’s use of bold colors was quite Almodóvar-esque. A scene shot in which red reigned supreme suggested fiery passion, perhaps even obsession. Green signified jealousy as Francis shared a bed with another man knowing that Nicolas and Marie were probably having a good time together. Lastly, I felt the need to point out the lack of a gratuitous sex scene. I admired that the material remained true to itself. The relationship between the trio wasn’t about sex. It was about the longing for someone who may or may not be willing to reciprocate. The fact that the writer-director chose to explore the funny, awkward, painful space between the three characters instead of allowing them to get together sexually proved to me that he was confident with his project. However, what I found less effective were the scenes that involved broken-hearted romantics who pondered over men and women who hurt them. I felt like I was in group therapy where no one made sense. Instead of relating to them, I ended up somewhat disliking them. Most recalled waiting for someone they were interested in and the person being late for over thirty minutes. It was suggested that they felt used waiting when the relationship ultimately didn’t go anywhere. If I was supposed to meet someone for the first time and he or she was thirty minutes late, that person could forget about it. I was there on time so I wouldn’t place the blame on myself. Either those scenes should have been excised or someone should have criticized their way of thinking. Despite its weak miniature intermissions, “Heartbeats” pulsated with creativity. I was addicted to its beauty.
World’s Greatest Dad (2009)
★★★ / ★★★★
“World’s Greatest Dad,” written and directed by Bobcat Goldthwait, was a satirical film about a father/writer/teacher (Robin Williams) who decided to hide his son’s (Daryl Sabara) accidental death from masturbating and instead made the death look like a suicide. Williams wrote a suicide note and when the school got a hold of it, the note became an instant hit. Being a failed writer time and again, Williams decided to take advantage of his son’s death and get the acclaim he always wanted by writing a journal full of sad thoughts and claiming it was written by his son. From the sound of it, I expected to immensely dislike Williams’ character because nothing is right about taking advantage of someone’s demise, especially that of a loved one’s. However, his son was such a prick (for the lack of a better word–and that’s putting it lightly) who didn’t care about anybody but himself (including those who were really nice to him such as his father and his only friend played by Evan Martin). In fact, I didn’t feel sad or remorse when the son died. I really cared more for father because he genuinely loved his son despite his son’s lack of appreciation. I’m beginning to think that Williams really shines in smaller pictures like this one and the underrated “One Hour Photo.” There’s something about the way he hides his feelings and thoughts that I can’t help but identify with. I especially liked that one scene when he pretended to be happy for a fellow teacher who was recently published on The New Yorker. There’s something very true about that scene because we all know how it is like to smile on the outside but feel really jealous inside after hearing about someone else’s success, especially if we don’t particularly like that person for whatever reason. I thought the darkly comedic scenes worked because it was able to point to the hypocrisy of high school students and the faculty that supposedly cared. I’m talking about how everyone suddenly started caring about Sabara’s character after his death when nobody really cared about him when he was alive. It reminded me of the time in high school when my fellow students and I would hear about a death over the morning announcements. For a couple of hours everyone sounded like they cared but the next day everything was back to normal as if nothing happened. This might be a difficult film to swallow for most people because the content might seem a bit “cruel.” But that’s what I admired about it; it was able to point to us and say, “This is what’s wrong with you” but not to the point where we feel bad. In fact, the pictures gives us a chance to laugh at ourselves.
★ / ★★★★
Directed by Steven Shill, “Obsessed” was a whole lot of nothing. The supposed story was that a temp named Lisa (Ali Larter) started to flirt with her boss (Idris Elba), but he didn’t realize that she was essentially a crazy stalker. At first it was sort of harmless–a look here, a glance there–but it eventually turned ugly–date rape drug here, attempted suicide there. Elba’s character stupidly kept everything that was happening around him a secret from his wife (Beyoncé Knowles) so he looked guilty when everything came out in the open. I honestly did not care less about the drama behind the characters’ lives. I just wanted to see Larter and Knowles fight it out in the end. Almost all of the characters here were unlikable: Elba, arguably, did send the wrong signals to Lisa which prompted her to think that he wanted her so he was not entirely blameless, Knowles was a suffocating and clingy housewife, Elba’s co-workers and supposed best friend did not know when to be serious and I felt like I was watching a bunch of high school pricks whenever I saw them on screen, and, well, we were supposed to hate Larter because she was the villain, but I hardly think she did that much of a good job either. As far as comparisons to “Fatal Attractions” goes, Larter did not come close to Glenn Close’s level of delusion and insanity. In some parts, I thought it almost became a farce of lunatic femme fatales because of all the unintentionally funny one-liners. I think it took itself way to seriously to the point where it collapsed on its own attempt to entertain. But even I have to admit the the trailers got me interested; it looked intense and it seemed to have a lot going for it. It goes without saying that I’m not going to give this a recommendation. Even then I think I’m being lenient on it because I’ve seen really good films prior to watching it. I can just imagine what I would have written if I saw “Obsessed” on a bad day.
Beautiful Ohio (2006)
★ / ★★★★
Chad Lowe’s directoral debut is rather difficult to get through because it doesn’t rise above the stereotypes regarding depressing suburban drama. William Hurt and Rita Wilson have two sons: David Call, a certified genius in mathematics, and Brett Davern, who is rather ordinary. Michelle Trachtenberg complicates the storyline by filling in the role as the not-so-girl-next-door who the two brothers happen to be attracted to. The first part of the film is rather interesting because it explores the jealously between the two brothers–mainly Davern struggling to live in his big brother’s shadow versus stepping out of it. I could relate to the two brothers because they pretty much have nothing in common except for their unconventional parents. Things quickly went downhill from there because the dialogue mostly consisted of the characters discussing theories, influential musicians and citing quotes from renowned individuals. Their pretentiousness created this wall between me and the characters. Therefore, when something dramatic happens to a particular character or a revelation occurs, I found myself not caring. I didn’t find anything particularly profound that drove the story forward either. Lowe really needed something above the whole parents-not-really-caring-about-their-children idea because it’s all been done before by better films. Davern reminded me of Emile Hirsch in “Imaginary Heroes,” which isn’t necessarily a bad thing, but without the nuances of pain and complexity. If Lowe had explored the common theme of characters not understanding each other (literally through language or emotionally) in a more meaningful and not a heavy-handed manner, this picture would’ve worked. The revelation about a certain character in the end felt out of place. Don’t waste your time with this one.