The Philadelphia Story (1940)
★★★★ / ★★★★
When the sassy socialite Tracy Lord (Katharine Hepburn) was about to marry a man (John Howard) who didn’t grow up from a family with money, Tracy’s ex-husband (Cary Grant) who still had feelings for her arrived prior to the big event to stir some trouble, along with him a reporter (James Stewart) and a photographer (Ruth Hussey). I instantly fell in love with “The Philadelphia Story” because of the effortless, magnetic chemistry between Hepburn, Grant and Stewart. The way they interacted with each other was so natural, I felt like I was listening to friends having a friendly banter and I couldn’t help but smile. I might not have gotten all the jokes because the comedy was a bit different back then but the bona fide feeling of the actors having a good time in their roles transcends time. I loved something about each of the leading actors. Hepburn played a plucky character with a distinct voice who wanted to show the world that she was strong but there were moments where she wore her weaknesses on her sleeve. Grant played a mysterious character who I found the most difficult to connect with but as the film went on, I felt his genuine love for his ex-wife and the pain and jealousy of seeing her with another man. As for Stewart’s character, my absolute favorite, he was charming, funny, and witty–such characteristics culminated when, ironically enough, he was drunk out of his mind. I was surprised with how much I was invested in the characters because some synopses I read described the picture as a screwball comedy. Perhaps I just had bad experiences with movies labeled as “screwball comedy” but I thought the movie was so much more than that. Not only did it have real moments of sensitivity and a little bit of romance but it did not settle for the obvious. I could see why Hepburn’s character was torn between her husband-to-be, her ex-husband, and the reporter because they all have positive and negative qualities about them. I also admired George Cukor, the director, for being efficient with his time. Not one moment did I feel bored or that the movie was going too slow because he kept the lead characters talking and he let the quirky supporting characters in and out at just about the right moments. I especially enjoyed Virginia Weidler as the nosy kid who wanted attention and the way she would act as if she was one of the adults. “The Philadelphia Story” is known as a classic comedy and I believe rightfully so.
Road to Perdition (2002)
★★★ / ★★★★
Directed by Sam Mendes, “Road to Perdition” was about a father (Tom Hanks) and son (Tyler Hoechlin) who had to go on a run from a mobster (Paul Newman) after the mobster’s son (Daniel Craig) murdered the wife (Jennifer Jason Leigh) and the younger brother (Liam Aiken) out of jealousy. I saw this movie back in 2002 but I don’t remember much of it. Watching it again eight years later, I thought I was in for a hardcore action picture that involved gun-wielding gangsters but it turned out to be much more than that. Hanks completely blew me away because even though he was a hit man and had to be tough (the members of his family always kept a distance), there were moments of real sensitivity to his character, especially the interactions with his son when they were on the road. While it did have intense action scenes which involved Jude Law (also a hit man who happened to photograph dead people for a living) and Hanks in the diner and the hotel room, the movie was more about the slowly strengthening bond between a father and a son. Equally, it was about the father’s moral conflict between his family and the person he worked for as well as his own hopes of his son not turning out like him. All of the elements came together and created real tension so I was glued to the screen. While the picture had an ominous feel to it, it also had a great sense of humor such as when Hanks would rob banks specifically from the mobster’s accounts. The way Hanks delivered his lines to the bank managers made me feel like he was really having fun with his character. I thought “Road to Perdition” was a well-rounded film in terms of script, tension and unpredictability. However, it excelled in terms of acting and not playing on the obvious. Newman was not an ordinary mobster boss because he was gentle with children and the people he liked. But at the same time, his patience was short when it came to certain people, especially his son, and we really got to see how of much of a monster he could become. As for Law, as usual, he was very charming as he was lethal. He provided a nice contrast to Hanks’ dominating presence because Law didn’t seem dangerous at first glance. If I were to nitpick for a weakness, I would say that Hoechlin’s character could have been explored more. I argue that he was the main character (instead of Hanks) because he was narrator right from the opening scene. While he did go through some kind of evolution, he wasn’t as multidimensional as the other characters mentioned prior. Nevertheless, “Road to Perdition” is a strong film because of the organic manner it unfolded aided by very exemplary performances.
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.
★ / ★★★★
Written and directed by Richard Day, “Straight-Jacket” was about a popular 1950s actor named Guy Stone (Matt Letscher) who must hide his homosexuality with the help of his agent (Veronica Cartwright) in order maintain his fans’ adoration. When a jealous fellow actor took a photo of Guy being arrested and was accused of being gay, his agent and the studio head (Victor Raider-Wexler) came up with a plan to keep his name clear by means of marrying an unaware fan/secretary named Sally (Carrie Preston). But things didn’t go quite as planned when Guy met a writer (Adam Greer), someone totally different from his type of “big, dumb and blonde.” I detested this picture’s exaggeration of pretty much everything: the slapstick, the wordplay, the acting, the set, among others. I felt as though it was looking down on me because it didn’t let me try to figure out what’s really going on in the characters’ heads because it was too busy hammering me with “this is funny!” moments. I also found this movie particularly difficult to watch because it had great trouble when it came to finding a consistent tone. With all the craziness that was going on screen, a little stability pertaining to the style of storytelling really would’ve done wonders. I like energy when it comes to the comedy but there’s a vast difference between energy and manic randomness. I found no redeeming factor in “Straight-Jacket” but I really have to mention one thing that deeply bothered me while I was watching it. The characters talked about having different kinds of homosexuals out there in the world, yet the film only focused one kind of a homosexual male: good-looking in the face, a built body, with snappy comebacks readily spit out. They’re in Hollywood, for goodness’ sake! Where are the lipstick lesbians, the drag queens, and stout effiminate directors? For a story that touches upon the glamour of Hollywood, this one simply lacked color and diversity. And I guess that’s why I hated this film: it’s unaware that it’s one-dimensional. There are a plethora of bad LGBT movies out there and this one, unfortunately, belongs in that category. What a waste of a hundred minutes.
Rudo y Cursi (2008)
★★★ / ★★★★
“Rudo y Cursi” stars Gael García Bernal and Diego Luna as brothers who started off as workers in a banana plantation and, with the help of a soccer scout (Guillermo Francella), eventually became Mexico’s soccer stars. One of the things I liked most about this movie was it allowed two very different characters to start off in the same level of happiness (or unhappiness). But when they finally achieved stardom, they were rarely on that same level and that caused tension, resentment, and bitterness which ate them inside out. But what’s even more impressive is that writer and director Carlos Cuarón painted the picture in a light-hearted manner with a real sadness in its core. It was easy for me to buy the fact that Bernal and Luna were very competitive brothers because of their lingering chemistry from “Y tu mamá también.” Although their characters genuinely loved one another, they forget that one time or another because they constantly got caught up in their own problems and inner demons. Such issues were commented on by the narrator who discussed things like the similarities and differences between a mother and a uniform, passion and talent, and the labyrinthine world of fame. The way their luck and fortunes fluctuated from golden fevers to pitiful desperation engaged me throughout. This is far from a typical sports film where a lead character goes through all kinds fo hardship in life and finally gets that big break. It’s really more about the dynamics between brothers who constantly had to build themselves up and could not help but compare themselves to each other in order to determine if they were good enough. (Which kind of works as a cautionary tale.) Carlos Cuarón’s debut film impresses on many levels which, admittedly, could have been a lot stronger if it had a better sense of pacing. I was just glad that it actually had a brain despite the sport.
Where the Wild Things Are (2009)
★★★★ / ★★★★
When my two friends who are very different from each other told me that they didn’t enjoy the film, I knew it wasn’t going to be everyone’s cup of tea. “Where the Wild Things Are,” directed by Spike Jonze (“Being John Malkovich” and “Adaptation.”) and based on a children’s book by Maurice Sendak, tells the story of a boy named Max (Max Records) and where his mind goes after going through a very tough confrontation with his mother (Catherine Keener). But the frustration is deeper than it seems; his sister is growing up and he does not get the same kind of attention he used to, his mother has a new boyfriend and is very involved in her work, and he does not have many friends. He’s a sensitive little kid and even certain bits of information he learns from school (like the sun eventually stopping to give off light) gets to him. That loneliness and wanting to be noticed makes him very aggressive so the audiences get a lead character who is edgy but is someone who we can ultimately root for because we see the story from his perspective.
As a person who has taken courses on child psychology, I think the writing is exemplary. A lot of people may think that Max is just a kid who is self-absorbed and immature. But has anyone really met a nine-year-old who does not have any of those qualities? I can barely even name an adult who is not at times self-centered and lacking maturity. I think one of the main problems when audiences watch a movie from a child’s perspective is that they fail to consider that children think (and therefore act) very differently than adults. Children have yet to find their identities so they seem to be one thing one minute and be another completely different thing the next. That manic sense of energy should not be seen as being annoying but instead should be seen as a rite of passage. I mention this in my review because I think that all of these basic background infromation should be taken into consideration in order to (in the very least) understand Max’ situation and mindset. I found the lead character to be a very lovable person because he was strong enough to turn a very sad situation into an adventure. And to be honest, I could identify with him because I remember back when I was seven or eight years old when sometimes I wasn’t allowed to play with the other children outside so I turned to my toys and made up stories that reflected how I felt at the time. (I loved that scene when Records told Keener a story about a vampire who lost his teeth. It was a metaphor about infinite things and I was deeply touched.)
A friend of mine mentioned that the movie doesn’t really have a defined story. For me, there was: Max takes refuge into his imagination where he meets all these giant puppet-like creatures with very distinct personalities because he feels abandoned–that no one is even attempting to understand what he’s going through. Those creatures (Catherine O’Hara, Forest Whitaker, Michael Berry Jr., Chris Cooper, Lauren Ambrose, Paul Dano and James Gandolfini) represent all of the major personalities inside him which cannot yet be controlled because he hasn’t experienced life. I thought the varying ways the creatures interacted (and sometimes collided) was very insightful because, in psychology, there is a theory that our dominant personality is simply a combination of our many different (extreme) personalities. Sometimes, there happens to be an imbalance (also reflected in one of the creatures–bipolar disorder, perhaps?) which causes great conflict in how we think and ultimately view the world. And even if my interpretation is “wrong,” there are great movies out there that don’t really have set story that is easy to understand.
“Where the Wild Things Are” is the kind of film I’ll eventually really love with repeated viewings. Yes, it’s sometimes hard to sit through because it’s not the kind of children’s movie one would expect. While there definitely are cute images, Jonze took the material to the next level and it really delves into many emotions such as sadness, confusion, isolation, not being heard or considered an integral part of a group, anger, jealousy, and even depression. I loved the fact that it’s rough around the edges and far from a typical movie where everyone goes “Aww” and easily label it as a great movie. (In fact, we even saw the monsters’ dark sides… which was scary at times because they made it clear that they could eat people.) In “Where the Wild Things Are,” you would actually have to think a little bit, see what’s under the surface to truly realize its greatness. This is an intelligent person’s movie and if you don’t like to take the effort to see some parallels between Max’ reality and imagination, then this movie might not be right for you.
★ / ★★★★
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.