Love Actually (2003)
★★★★ / ★★★★
Written and directed by Richard Curtis, “Love Actually” followed nine stories of people in love, which did not necessarily have to be in connection with romance, prior to and during Christmas. “Love Actually” is one of those films I feel the need to watch around early December to get me in the mood for the chilly holidays. It is also one of those movies that I decide to watch whenever I’m in a bad mood because it never fails to make me smile. Out of the nine storylines, two of them were uninteresting compared to the rest. Kris Marshall’s character believing that he’d only get sex in America because he claimed that British girls were snobs was good for one laugh but the rest of his scenes felt as desperate as he was. Meanwhile, Colin Firth playing a broken-hearted author felt too Nicholas Sparks for me and, aside from when he finally had the courage to ask the woman he believed he loved to marry him in broken Portuguese, the pace was too slow compared to the other vignettes. The three best stories involved Bill Nighy as a rockstar who would say and do anything to get his song to be the number one hit on Christmas (I loved the line when he advised kids not to buy drugs, that they should instead aspire to become pop stars so they could get drugs for free–hilarious!), Emma Thompson and Alan Rickman’s crumbling marriage, and Laura Linney’s struggle between taking care of her ill brother and finally making a move on Rodrigo Santoro after years of pining over him. Those three were very different from one another but they worked side-by-side because, while each was about love or passion, there was genuine sadness in each situation so we laughed more when something surprising or cute happened. The other four stories ranged from mediocre to barely above average. Hugh Grant as the quirky Prime Minister falling for the coffee girl (Martine McCutcheon) who everyone thought was fat was cute but ultimately superficial, the two pornographic actors (Heike Makatsch, Martin Freeman) were slightly amusing because they were awkward to watch but nothing more, Liam Neeson as a stepfather of a boy (Thomas Sangster) whose mother just died was incredibly sappy (but was somewhat saved by the “Titanic” scene), and Andrew Lincoln secretly pining (via exuding very negative energy) for his best friend’s wife (Keira Knightley) lacked edge and real drama. But I do have to say that, out of all the characters, I can relate with Lincoln’s character most because I usually act the same way as him with someone I like. I think he said it best: It’s self-preservation. But nevermind the film’s shortcomings. The clichés were abound but there were enough changes to the formula to keep me interested and, more importantly, laughing from start to finish. For a movie that runs for over two hours, it was relatively efficient with its time. If you’ve ever loved someone despite their imperfections, that is tantamount to how I feel toward this romantic comedy. To me, it is perfect.
Pirate Radio (2009)
★★★ / ★★★★
British rock and pop music had very little exposure on the airwaves despite their undeniable popularily so the colorful crew members (Bill Nighy, Philip Seymour Hoffman, Chris O’Dowd, Nick Frost, Tom Brooke, Tom Wisdom, Rhys Darby, Katherine Parkinson) on a ship decided to broadcast songs every hour of every day. Back in the mainland, England’s minister (Kenneth Branagh), along with his minions, tried to come up with ways to make such broadcasts illegal. Watching this movie was strange because I thought the plot was somewhat weak and unfocused. However, I couldn’t help but love it because the characters were interesting even though some of them were more like caricatures, the humor had a healthy dose of rudeness and crudeness but was never truly offensive, it consistently inspired me to guess what random event would transpire next and, best of all, it showcased my favorite type of music. Essentially, the picture made me want to live in 1960s England so I could be around wicked fashion, freewheeling individuals willing to experiment, and great music that fully defined a generation. Since I felt like the movie was a tribute to people who grew up in the 60s and younger generations who wished they lived in the 60s, I hoped that, despite the movie simply wanting to have fun, the film focused more on Tom Sturridge’s character. He was a rebel (he got kicked out of school for drugs) yet we could not help but love him (he’s still a virgin but lacking experience with girls since he attended an all-boys school) because he was more sensitive and reserved than he let on. I wanted more scenes of him interacting with his neglectful mother (played brilliantly by Emma Thompson) and his supposed to love interest (Talulah Riley). Furthermore, I wanted to see more of his struggles concerning a lack of a father figure. The elements that could contribute to being alienated–and therefore turning to rock and roll–were present but the movie failed to look beneath the surface and offer insight that could surprise or even us. I believe that if “Pirate Radio,” written and directed by Richard Curtis, had a more defined emotional core, it would have been stronger because the risks it had taken would have had stronger payoffs. A movie about sex, drugs and music will fail to grow beyond the obvious if it does not have the heart and the energy to construct three-dimensional characters and storylines. It is particularly difficult for ensemble films but Curtis managed to be successful in “Love Actually” and “Four Weddings and a Funeral.” Nevertheless, I’m giving “Pirate Radio” a recommendation because I appreciated its gesture to fans of British pop and rock and roll. The film was a nice escape because nowadays I can’t even turn on the radio without wanting to bash my head against the wall.
Valentine’s Day (2010)
★★★ / ★★★★
“Valentine’s Day,” written by Katherine Fugate and directed by Gary Marshall,” was an ensemble romantic comedy with many high-proile names that followed the footsteps of films like “Love Actually.” There are only three things one has to know coming into this movie: all of the characters are connected in some way, it is at times unapologetically cheesy with its typical (but funny) one-liners, and it is a good Valentine’s Day movie to watch with friends or special someone. Even before the film was released, I heard a lot of negative comments about it because people are not keen on the idea of a movie capitalizing on a holiday that “isn’t even real.” I say get over it because such moaning will not stop movie studios from releasing movies such as this; it’s a business and no matter how much you complain, money is money at the end of the day. Personally, the main reason why I wanted to see this film was because some of my favorite celebrities were in it like Jennifer Garner, Julia Roberts, Anne Hathaway, Topher Grace, Ashton Kutcher (even though I change my mind about him quite often), and Bradley Cooper. From the trailers, I knew exactly what to expect and, surprisingly, it was much better than I thought it would be. Even though only two to four characters out of the twenty-one were fully developed (Garner and Kutcher as best friends failing to see that they were meant for each other; Hathaway and Grace as one lacking awareness of the other being a phone sex operator), it was fun to watch because it had a certain self-awareness–that none of it should be taken seriously because the characters’ lives revolved around falling in love. We are smart enough to know (or at least we should be) that the movie was simply trying to provide us an escape from our busy lives, whether our lives may revolve around our studies, our jobs, and countless other circumstances. As for the negatives, I wished that the main characters were cut down to fifteen. Even though I thought the scenes with Taylor Lautner and Taylor Swift were amusing, their scenes didn’t do much when it came to the big picture other than comment on the fact that teenage love based on supercifial similarities was a good foundation for a potential heartbreak. (Well, at least that’s what I got from it.) I also wished that Jessica Biel’s scenes with her eating junk food and being neurotic were cut, while preserving her “I hate Valentine’s Day” intact and ultimately seeing Jamie Foxx as a perfect match for her. My favorite storyline has go to be the one with Cooper and Roberts meeting on a plane. I still think Roberts is one of the finest actresses because she has a perfect way of portraying sadness in her eyes. It was pretty subtle but when Cooper voiced out his assumptions that Roberts was on her way to see her special man, that specific look that Roberts gave him immediately made me realize that it wasn’t the case. “Valentine’s Day” is indeed a typical romantic comedy but if you know what to expect and you have an open mind, you will have a good chance of enjoying this flick. But if you come into the film in a bad mood or expecting the worst, prepare yourself to analyze every single flaw and not enjoy the movie. In other words, save your money or buy yourself a box of chocolates instead. Maybe that will make you happy.
He’s Just Not That Into You (2009)
★★ / ★★★★
This ensemble comedy, directed by Ken Kwapis, tells the intersecting story of late twentysomethings to early thirtysomethings as they endure the challenges that come with their romantic interests. Ginnifer Goodwin seems to have the worst radar when it comes to whether or not guys are truly interested in her. One day, she meets Justin Long and believes that he’s romantically interested in her despite his just-friends-and-nothing-else inclinations toward her (talk about not learning from her mistakes). For me, that was the best part of this movie because Goodwin gave out this certain enthusiastic energy that made me want to root for her even though she might seem a bit desperate and awkward at times. I loved the scenes when she would literally wait by the phone for a call from a guy that she had dinner with only once. Her worries poured into her workplace as her co-workers (Jennifer Connelly, Jennifer Aniston–each having a story of her own) consoled her. My second favorite storyline was Aniston and Ben Affleck’s. The two are in love and living together but they’re not married because Affleck doesn’t believe in marriage. This bothers Aniston’s character, especially when the topic of marriage comes up (the conflict was amplified when she heard about her sister getting married), but she tries to conceal her emotions with all her might. However, during the scenes when she couldn’t handle it anymore, I felt a genuine sadness for her character and I wanted to know more about her. Unfortunately, her storyline did not get as much screen time. The love triangle between Connelly, Bradley Cooper (who happen to be married) and Scarlett Johansson, I thought, was the weakest link. Though I did feel for Connelly’s character because both of us like to fix or organize things when things start to feel out of control, her storyline felt like it did not fit the movie. It was much more depressing than the other two mentioned. Not to mention Johansson is doing her pouty thing again and having an affair. In a nutshell, that storyline left me disinterested. I thought that the first part of the film was much stronger than the second half. The former was genuinely funny, fast-paced and offered a handful of interesting questions about why men and women are the way they are. The latter is the complete antithesis. If the director got rid of Connelly’s storyline, elaborated more on Aniston’s, and injected more of Drew Barrymore’s conflict with dating and technology, we would have a superior picture. Instead, we got a mediocre film that somewhat felt like (or tried to be like) “Love Actually” but considerably less charming.