★★★ / ★★★★
What I loved about this film the most was its structured storytelling, yet it still felt organic because each of the character involved was like a mouse trying to find the way out of a maze. Steven Soderbergh, the director, presented three main fronts: Michael Douglas as a judge who became a recent leader against drugs in America, unaware of the fact that his daughter (Erika Christensen) is becoming an addict (with Topher Grace as the friend/boyfriend); Benicio Del Toro as a cop trying to catch cocaine shipments in the Mexican border, only to realize later the thin line between an ally and an enemy; and Catharine Zeta-Jones as a housewife who must make a decision on whether or not to aid her recently arrested husband for distributing drugs under the eyes of two cops (Don Cheadle and Luis Guzman) who keep following her everywhere. Each of those vignettes were equally interesting so I was excited whenever the picture would jump from one to another. I also noticed Soderbergh’s excellent use of warm and cool colors. At first I thought whenever the cool colors appeared, it meant that we were seeing the story from a good guys’ perspective and the warm colors meant from the bad guys’. But I was proven wrong just as quickly that it wasn’t that simple because, whenever it came to drugs, the good guys must confront their inner demons and choose the difficult choices over the right choices. The moral implications of each characters’ decisions kept piling up to the point where I was somewhat overwhelmed (in a good way) and it was hard for me to root for anyone for that matter. There’s a sense of realism about these characters and I was impressed because most pictures I’ve seen about drugs themselves or the war on drugs mostly involve crooked cops and gun-wielding, savvy-talking gangsters. In here, Soderbergh let his characters be actual people and there was a certain unpredictability to it. I think with another viewing in the future, I’ll come to love this film that much more. Although there may have been some things that I didn’t understand, such as some of the legal concepts and the intricacies among the hierarchy of drug bosses and henchmen, I can admit that this was a rich, extremely layered picture worth viewing at least once.
Grande Bouffe, La (1973)
★ / ★★★★
“La Grande Bouffe,” or “The Big Feast,” directed by Marco Ferreri, was such a huge disappointment for me because I’ve heard a lot of good things about it, especially from critics and bloggers that I look up to for recommendations. Since my expectations were a bit hyped up, while actually watching it, it was such a letdown because the characters that came from different backgrounds–a pilot (Marcello Mastroianni), a chef (Ugo Tognazzi), a judge (Philippe Noiret) and a television star (Michel Piccoli)–were so uninteresting for such an interesting premise. The four friends hired prostitutes and had orgies in a massive getaway mansion as they ate more food than they could digest in one sitting. Just when I thought that the story would evolve into something more, I felt like it actually tried to stay in one place and featured more images of sex and gluttony. Admittedly, I’m the kind of person that can endure watching pretty much all kinds of sexual acts but this film made me wince repeatedly. I’m not quite sure if that was the kind of reaction that the director had it mind or if it was supposed to be genuinely sensual or erotic. But since it’s a dark comedy, I’m guessing it’s the former so perhaps, in a way, it succeeded on that level. Morever, for having such a group of supposedly smart gentlemen, they sure acted like adolescent morons for most of the picture. I didn’t see any scenes where any of them offered some sort of insight that made me think of their situation (or any situation for that matter) any differently. I felt like writers just had this one idea of excess but never quite broken from that in order to reach the next level. (And for a picture that ran for more than two hours, there was absolutely no excuse for that.) I also did not appreciate the slapstick that involved scenes with flatulence and excrement. I’m not a big fan of slapstick in the first place because they tend to rub me the wrong way so this film became that much worse in my book. Just when I thought it couldn’t get any worse, the final scenes that revealed the fate of the four main characters felt completely forced and I couldn’t help but roll my eyes. It was a complete waste of my time and I almost wished I never saw it.
My Sister’s Keeper (2009)
★★★ / ★★★★
Based on the novel by Jodi Picoult, Anna Fitzgerald (Abigail Breslin) eventually gets tired of all the forced medical procedures done to her in order to save her sister (Sofia Vassilieva) with leukemia. She enlists the help of a lawyer (Alec Baldwin) and this immediately causes tension within the family, especially between Anna and her mother (Cameron Diaz). Right off the bat, the audiences come to know that Anna is a test tube baby for the sole purpose of extracting healthy cells (and eventually organs) so that she can help her sister survive. I thought this was a smart film because of all the ethical questions it raised and the way it avoided to define for the audiences what is right and what is wrong. It was definitely easy to immediately side with Anna because I strongly believe that everyone has a right to do whatever he or she wants with his or her body. However, after a series of flashback scenes told in a non-linear way, I was able to sympathize with Diaz because I was convinced that she genuinely loves her family. It’s just that she’s required to make the tough decisions since no one else will even if it means butting heads with her husband (Jason Patric) and increasingly conflicted son (Evan Ellingson). I must say that Diaz absolutely blew me away. I keep forgetting that she can be a good actress because I’ve seen her way too much in a lot of (sometimes lame) comedies. In here, she was able to carry her character with such complexity and dramatic weight. I’d like to see her in more dramas because she can balance toughness, intelligence, sensitivity so well. Another actor I really enjoyed was Joan Cusack as the judge who was supposed to decide whether Anna can ultimately get medical emancipation from her parents. Cusack’s character was still grieving for the untimely death of her daughter (due to a car accident) and it was easy to tell that she was still unstable; it made me think that perhaps she was not quite fit to get back to work and whether she should be the right person to decide the case’s outcome, especially since it involved a child. Cusack’s silent moments, while interacting with Breslin in her chamber, were so powerful, I couldn’t help but tear up a bit. After only a week since my parents almost died in a car accident (which I haven’t really talked about with anyone because whenever I think about it, I just lose it; while a friend of theirs died, my parents luckily got away with a few fractures and bruising), her situation made me think how easy it is for someone to be alive and healthy one day and not here the next. Lastly, Thomas Dekker as Vassilieva’s boyfriend-to-be provided a lot of sensitivity it needed so the audiences could get a better picture that people should not be defined by their diseases. A lot of the fans from the book didn’t like the fact that the ending was altered. From the perspective of someone who hasn’t read the book, I thought pretty much everything about this film unfolded in a way that made sense but still had a powerful impact. It’s extremely difficult not to be moved by this picture.
★★★★ / ★★★★
Written and directed by Krzysztof Kieslowski, out of the “Three Colors” trilogy (“Blue,” “White” and “Red”–colors of the French flag that mean liberty, equality and fraternity, respectively), I believe this one is the strongest. Right from the very start, the thesis regarding strange connections between people who want some sort of communication, meaningful or not, with another person is established. I was blown away by Irène Jacob’s performance as a model who one day runs over a dog that belongs to a retired judge played by Jean-Louis Trintignant. Although at first the two seem to have nothing in common, the more time they spend together, the more they realize that they probably belong to each other despite their significant age difference. Jacob was the star here and I couldn’t take my eyes off her. I was even more mesmerized by her whenever her photos are being taken by a photographer or whenever she was walking on the runway. There was an air of sadness (with a little bit of strength underneath it all) about her that I really wanted to explore. I also was at awe when it comes to Kieslowski’s use of color. The color red was all over this film yet each one signifies a different feeling or symbolism. Combined with its excellent use of pacing, I felt like I was in a dream where everyone and everything has a purpose. Lastly, I have to mention the final scene when all the three leads (and some side characters) from the whole trilogy appeared. It gave me serious goosebumps because I got to know each of those characters prior to this installment. It was weird seeing them again after thinking that their stories were over when the credits rolled in their respective installment. That scene and the few scenes before it are able to say something meaningful about destiny to the point where I looked at each of the characters from “Red” in a completely different light. Kieslowski’s craft just blew me away and I have absolutely nothing negative about this picture. What a perfect way to end an ambitious project.