The Return (2003)
★★★ / ★★★★
“Vozvrashcheniye” or “The Return,” directed by Andrei Zvyagintsev, was about two boys’ (Ivan Dobronravov, Vladimir Garin) response and ways of coping when their father (Konstantin Lavronenko) who abandoned them twelve years ago suddenly came back. This movie really took me by surprise because I thought it was going to be more about the siblings’ relationship: the rivalry between them, their quest to find their identities and to learn how to be secure about who they were. When the father came back, I suddenly realized that the film aimed to be so much more. Although the brothers were pretty much on the same physical journey with their father to head to a place unknown to the audiences, their emotional and psychological journeys were distinct and fascinating. The older brother (Garin) accepted his fathers return while the younger brother (Dobronravov) was more reluctant and cautious. His doubt became so strong to the point where he expressed to his brother that the man who returned might not be their father–the father that they came to recognize in an old childhood photo. This alarmed me because I wondered if he was right. After all, that gut feeling in us is sometimes right, especially when circumstances are dire. I had to question about the father’s intentions because of the way he treated his sons. Even though they were both stubborn, if I was a father who hadn’t seen his sons in over a decade, I’d be ecstatic and be more than willing to let certain things go so that my children would be able to trust and open up to me. The way the father was so dead-on into coming to a particular place made me very suspicious and I found myself constantly evaluating the situation. The last thirty minutes was impressive. The quiet moments were so painful after certain events have unfolded. I could feel what the characters were probably feeling and known what they probably were thinking. I loved the way Zvyagintsev helmed the picture because of the fact that the movie was focused from beginning to end yet it wasn’t monotonous. In fact, it was very fluid when it comes to the emotions that it wanted to get from the viewers. I also enjoyed that the title eventually had two meanings. I will remember this Russian film for a long time, despite its minimalist dialogue, because of its haunting moral conundrums.
★★★ / ★★★★
This 80’s-inspired coming-of-age comedy-drama about James Brennan, played by Jesse Eisenberg, who was forced to work on a theme park after his parents (Jack Gilpin and Wendie Malick) revealed to him that they were having pecuniary issues. He also had to sacrifice his trip to Europe, a graduation present that he was obviously looking forward to. What I loved about “Adventureland” was it managed to focus the spotlight on James’ journey to maturity no matter how painful some realizations ended up being. The colorful characters from the theme park, including his romantic interest (Kristen Stewart), and the comedy felt secondary to journey. It was a nice change from typical teen comedies of today. I also really liked the music that were featured. It feels like once in a blue moon that I actually am familiar with 85-90% of the soundtrack. (Mainly because my parents are big on music of the 1980’s and I grew up listening to such.) Written and directed by Greg Mottola (“Superbad”), this film managed to paint all of its characters with a certain sadness which happened to unconsciously come out whenever they interacted with each other. Motolla actually gave his characters a chance to talk about their dreams, insecurities, and the things that were going on at home instead of just giving the audiences easy (and uninsightful) slapstick comedy. The only thing that did not quite work for me was Ryan Reynolds’ character and his relationship with James’ romantic interest. Not only did Reynolds and Stewart have too many scenes together, but the relationship somewhat felt forced. If I look back on the picture and not think about the scenes that mainly involved those two characters, pretty much everything else would have been the same. Having said that, this is still a strong movie about a college graduate who, through trials of hardwork and heartbreak in the theme park, actually learned more about himself and about life than if he had gone to Europe. And that’s a nice message for those who cannot quite leave their hometowns because of their many responsibilities or for whatever reason.
Mongol: The Rise of Genghis Khan (2007)
★★★ / ★★★★
Intended to be a trilogy, “Mongol,” directed by Sergei Bodrov, painted a beautiful but often complex picture about a man’s (the future Genghis Khan played by Tadanobu Asano) journey on how his experiences from when he was a child shaped his ideals and eventually came to a decision to force such ideas to all Mongolian people. I don’t know much about the history prior to Genghis Khan’s ascension to power so I’m not the right person to ask about whether or not it’s historically accurate. Instead, I’ll review this film from a tabula rasa perspective. After reading some of the critics’ reviews, I finally decided to watch the movie and had high expectations. While I did expect scenes that consisted of ferocious bloodbath, I got exactly that and more. I was surprised by the amount of heart that this film had to offer. I liked the fact that it showed more of Genghis Khan’s failures than his victories. Despite his unfortunate circumstances, he kept getting up and wanting to fight again so it was not difficult at all to root for him. There’s something truly inspiring from watching a person’s inner drive accumulate in spite of extremely difficult situations and be able to pull through. What didn’t work for me, however, were the mythical scenes. I found it frustrating whenever the picture would cut the scenes whenever Genghis Khan’s life was in danger. It would then jump to another scene when he would be perfectly okay and somehow evaded the situation. I get that faith was an important aspect of Genghis Khan’s life (and the fact that this film was being told in a first person point-of-view, which, as we all know, is not always objective) but I felt that there were too many of those scenes and it took me away from the situations. Regardless, there are still a lot to see here such as the stunning background imageries and well-defined (as well as graphic) battle scenes. If one is into historical epics that humanize a warrior’s journey to power instead of glamorizing it while at the same time dealing with issues such as the fragility of alliances, this is definitely the film to see. It goes to show that an epic film doesn’t need to come out of Hollywood as long as it is ambitious, while at the same time still able to deliver the elements that ultimately convince the audiences why they should care for the lead character.
Working Girl (1988)
★★★ / ★★★★
Directed by Mike Nichols, this romantic comedy has something to say or two about women in the work force. Set in the 1980’s, I was very amused by looking at people’s hair, clothes and the lingos they used. Even though those things are not that relevant today because they went out of fashion, there is one thing that persisted: Women are still considered less equal to men. Melanie Griffith plays Sigourney Weaver’s hardworking secretary who one day pitches an idea to Weaver. Even though Weaver promised Griffith that she will get some credit if Weaver’s boss liked her ideas, Weaver pitched Griffith’s ideas as her own. After an injury that left Weaver in bed for a couple of weeks, Griffith stumbled upon Weaver’s betrayal and decided to climb the corporate ladder. Even though this is a romantic comedy, it’s not an ordinary one because of the wit in its writing. Just when you think the story will unfold one way, it completely veers off another way and it surprised me (in a good way). Griffith is completely believable as an astute secretary who wants to be something more. Weaver did a great job as the boss from hell. It was hard for me to read her intentions because she’s so good at lying and manipulating everyone despite her sweet facade. Harrison Ford, Kevin Spacey, Alec Baldwin and Joan Cusack are also found here and they all have scenes where they truly shine. What didn’t work as well for me was the romantic angle. Sometimes, I felt as though it dragged the story down and shifted away from the business angle of the story. I can imagine this film being talked about in Women’s Studies courses because it has something to say about marriage, the workplace, and the home. The most interesting aspect in the film was even though Griffith wants to fight against a man-centered world of business, her enemy is a woman, just like herself. When I saw Weaver for the first time, my first instinct was Griffith and Weaver teaming up to climb the corporate ladder. I only realized later that it’s even better if they’re up against each other. As for its ending, it was so well-done. I was so touched because, in a way, it summarized Griffith’s journey in a different angle. This is a strong film by Nichols because it ultimately inspires.
★★★★ / ★★★★
I found this film to be thoroughly engaging from beginning to end because, despite the roughness and violence presented on the outside, the core is very sensitive but nothing is glamorized. Presley Chweneyagae is excellent as the lead because he’s convincing as a gang leader and a person who happens to have a broken soul because of his childhood. We see his character change in myriads of ways but each of those changes are subtle enough to leave a lasting impression. My favorite scene was when Chweneyagae was able to connect the old man on the wheelchair to a dog with a broken back. That scene was so powerful because there are a lot of muffled emotions and unsaid thoughts yet I couldn’t help but feel like everything is being revealed. I do not consider this a typical journey of a man becoming a “better person” by the end of the picture. Instead of taking a literal journey to exotic places, the main character was able to find self-respect, honor, and the ability to love in the place where he lived pretty much his whole life. With the help of the baby that he accidentally took while hijacking a car–seeing himself in that child while at the same time reminding him that the child is everything that he is not–he began a transformation that ultimately warrants his redemption. I’m glad the Academy recognized this as the Best Foreign Language Film of 2006. I will remember this film for a very long time.