Crazy, Stupid, Love. (2011)
★★ / ★★★★
Cal (Steve Carell) and Emily (Julianne Moore) were deciding what to order in a restaurant. Cal wanted crème brûlée. Emily wanted a divorce. Top to it off, she admitted that she had slept with one of her co-workers (Kevin Bacon). Almost immediately, Cal moved out of the house while his kids, Robbie (Jonah Bobo) and Molly (Joey Kind), stayed with their mother. Having no one to talk to about how he felt about the separation and how quickly it happened, Cal went to a bar to meet women. Jacob (Ryan Gosling), a posh womanizer, saw something in Cal that made him want to help the sad sack, starting with his wardrobe. “Crazy, Stupid, Love.,” written by Dan Fogelman, could have been an enjoyable romantic comedy if it had been severely trimmed. With a running time of almost two hours, the fat was heavy and uninteresting. The weakest portion of the film was its core. That is, the dissolution of Emily and Cal’s marriage. It was difficult for me to care about their separation for two reasons. 1) We didn’t yet know them when the news was thrown on our lap and 2) The sad parts, just when they were about to hit their peaks, were interrupted by comedy. For instance, while on the way home as Emily attempted to explain why she wanted a divorce, Cal decided to exit the car while it was moving. It was supposed to be funny but I didn’t laugh. I just felt sorry for him because he wasn’t equipped in terms of how to properly the digest the information he was given. He would rather jump out of the car than deal with the problem. What kept the project afloat were the energetic supporting characters. They were the ones who consistently made me laugh. Robbie, a thirteen-year-old, had a gigantic crush on Jessica (Analeigh Tipton), his seventeen-year-old babysitter. His public proclamations of his feelings toward her were downright embarrassing but sweet. Jessica wasn’t able to reciprocate due to their age difference and, more interestingly, she lusted over Cal, who was probably three times her age. I also loved watching the scenes between Hannah (Emma Stone), a law student, and Jacob. They shared intense chemistry so their scenes, which ranged from silly to sexy, felt effortless. It made me wish that the center of the movie was young love and how crazy, stupid, silly, naive it all was. While Cal’s wardrobe make-over and various attempts to get women into bed were necessary elements so that Cal would eventually realize his value as a father, as a husband, and as a man, they took up too much time. I wanted to know more about Emily and how her decision affected who she was as a strong woman with a career and as a mother. It wasn’t the actors’ fault. They did the most with what they were given. The problem was the script. It was reluctant to really delve into the pain of separation so it settled with spoon-feeding us so-called funny skit-like scenarios that not only did not flow together, they also consistently crossed the line between simple coincidences and forceful twists. “Crazy, Stupid, Love.” will appeal to those who like their comedies very light and cutesy. And that’s okay. But for those who like to watch characters who make decisions that make sense, they should keep walking.
You Will Meet a Tall Dark Stranger (2010)
★★ / ★★★★
Helena (Gemma Jones) decided to see a fortuneteller (Pauline Collins) after the divorce between her and her husband (Anthony Hopkins) had been finalized. She claimed she needed direction, but we quickly realized that she was clingy, didn’t know how to keep certain opinions to herself, and was hopelessly gullible. Maybe the divorce was a gift or a breath of freedom for her husband. Sally (Naomi Watts), Helena’s daughter, was also having trouble with her marriage. Roy (Josh Brolin), Sally’s husband, was having a difficult time finishing his book and was weighing the possibility of having an affair with a beautiful woman in red (Freida Pinto), his muse, across their apartment building. On the other hand, Sally was considering to have an affair with her boss (Antonio Banderas) while working in an art gallery. “You Will Meet a Tall Dark Stranger,” written and directed by Woody Allen, was a missed opportunity. The story was interesting, the coincidences didn’t feel heavy-handed and the various ironies between and around the characters were accessible. However, the film felt like a satisfying but incomplete novel. Just when Allen needed to deliver the punches involving the consequences that the characters had to live with due to their unwise actions, the screen abruptly faded to black. It left me wanting more but not in a good way. The picture’s lack of resolution highlighted its flaws, especially its highly uneven tone. Allen spent too much time trying to convince us that what we were seeing was comedic. As a result, he was stuck in highlighting the characters’ quirks instead of exploring other dimensions that would make us want to get to know more. For instance, the relationship between Hopkins’ character and his young girlfriend (Lucy Punch) was mostly played for laughs. The former’s quirk was, despite his age, he was convinced that he was still in his thirties. Like his ex-wife, he was inclined to self-delusion. The latter was a classic golddigger who loved to buy expensive clothing and accessories in exchange for sex. She was a former callgirl but, in reality, she never left her profession. The film only turned darker toward the end when Hopkins’ character, after the woman revealed that she was pregnant, threatened her that the baby better have been his or else. The comedic element was gone and we were left to stare at the character’s desperation, hurt, and anger in his eyes. Unfortunately, that was the last scene between the old man and the golddigger. The same hustle-and-bustle applied to the other characters and were left in the dust wondering what happened next. Not unlike Helena, “You Will Meet a Tall Dark Stranger” needed a strong direction with clear vision. The important questions it brought up about life were cheapened and it ultimately felt like Philosophy 101.
Beautiful Boy (2010)
★★★ / ★★★★
Kate (Maria Bello) and Bill (Michael Sheen) were about to get a divorce. They lived in the same house, able to carry on a conversation, though nothing deep, eat at the same table, but couldn’t bear to sleep on the same bed. When their eighteen-year-old son, Sammy (Kyle Gallner), called from college one night, it was a final contact. The next morning, Kate and Bill found out that their beloved son had killed over a dozen of his fellow students and, eventually, himself. Written by Michael Armbruster and Shawn Ku, directed by the latter, “Beautiful Boy” worked both as a life-changing tragedy and as a marriage drama, which was interesting because there was not one image of Sammy using a gun was ever shown. Instead, the picture focused on how the couple reacted to the news which was heartbreaking to the say the least. The bereaved questioned themselves what they did or didn’t do as parents to have raised such a depressed child who eventually gathered so much rage and alienation. Kate hated the fact that Bill was always emotionally unavailable due to the nature of his work, while Bill begrudged Kate for picking at every single flaw whether it was about a household item or person with feelings. But in my opinion, neither of them, as well as the real families of those teens who went on a rampage in their high school and college campuses, was to blame. Sometimes kids just can’t cope and their decision to allow others to feel their pain is beyond explanation. Though their action begs for a sound reason, no amount of psychology is good enough to ameliorate the grief of everyone involved, directly or indirectly, at least for the time being. The first year of university and being hundreds of miles away from home is difficult. I know this from personal experience and I believe that the film, in only two or three scenes, captured the yearning of physical contact while parents and their child conversed via telephone. Like most people, I was able to get through the demanding first year by making new friends, being open to new experiences, embracing changes, but still staying true to who I thought I was. College students break down more often than most people would probably like to think. And it’s not just those who flunk out. Just because a student is still in school, it does not mean that the student is necessarily healthy. A whole lot of students engage in reckless casual sex as a substitute for real connection, some decide to stay in bed all day and neglect hygiene altogether, others take refuge in the party scene and drown their problems with alcohol, a handful try to overcompensate and take on more responsibilities than they can handle. I know because I’ve known and lived with those kinds of behavior. The very few who go on a shooting rampage, in my opinion, is an extreme form of that behavioral (and most likely hormonal) imbalance. That’s what they are to me: behavior. Behavior does not necessarily (nor accurately) define a person. That’s what I believed the film tried to communicate about tragedy by allowing us to watch Bill and Kate to try to make it through one day at a time. It managed to do so in an elegant, contemplative way sans judgment.
★★★★ / ★★★★
Donna (Dee Wallace), along with her son (Danny Pintauro), drove the barely functional family car to be fixed, but the mechanic (Ed Lauter) and his family weren’t around. The only thing waiting for them was a rabid St. Bernard that attacked when a loud noise was present. Stuck in the car for a couple of days, Donna had to go to great measures to prevent her son from death due to a lack of food and water. Based on the novel by Stephen King, “Cujo” was particularly impressive because the story was rooted in drama. The Trenton household was on the verge of collapse because Donna informed her husband (Daniel Hugh Kelly) that she had been having an affair with one of their friends (Christopher Stone). On top of that, their comfortable way of life was threatened when the husband’s business was marred by bad publicity. The strain in their marriage, though much of it was undiscussed, affected the child in such a way that Tad was convinced there was a monster, equipped with a long snout and yellow eyes, in his closet. The horror aspect was quite clever. Aside from the first scene which involved the child preparing himself to turn off the light, race across the room, and land on his bed, which I often did as a child because I loved to watch scary movies, the horror elements were temporarily pushed to the side. From the moment Cujo attacked the mother and son, we realized that the dog symbolized the invisible monster in the room whenever the husband and wife shared the same space. They could barely look at each other, let alone carry a meaningful conversation. After the dog’s initial attack, I was floored when the child screamed and hysterically asked his mother how the monster got out of his closet. The connection between the child’s fantasy and the reality of a potentially broken marriage took the form of a beast so ferocious, we ultimately didn’t care about Donna’s transgressions. At least I didn’t. It became a matter of survival of an unhappy woman and her innocent son. The scenes inside the car were very involving. Under the sweltering sun, I felt like I was in there with them as they sweat and suffered the shortage of basic necessities. When Tad eventually had trouble breathing, Wallace’s performance was front and center. Her desperation, and eventual determination to save her son, swept me away. I wanted to help her. It made me consider what I would have done for my child if I was placed in a similar situation. “Cujo,” directed by Lewis Teague, was efficient, smart, and thrilling. I admired it most for its details and how the meanings we placed in them pulsated with rabid energy.
Hall Pass (2011)
★ / ★★★★
Rick (Owen Wilson) and Fred (Jason Sudeikis), best friends, were married but couldn’t help checking out other women in the streets even if they were right next to their wives. So Maggie (Jenna Fischer) and Grace (Christina Applegate), Rick and Fred’s wives, respectively, decided to give their husbands a hall pass–a week off from marriage that allowed them to do whatever they wanted, even if it meant sleeping with other women. Maggie and Grace believed that their decision would ultimately strengthen their marriages. Directed by Bobby Farrelly and Peter Farrelly, “Hall Pass” was supposed to be a comedy but it wasn’t funny because it wasn’t brave enough to really look at the dark corners of human psychology and behavior and critique its characters in an insightful way. It took the easy way out instead of taking necessary risks. Most of the scenes not only ran for too long, they lacked a punchline. For instance, the conversation between Rick and the babysitter while the latter was being dropped off was a lazy attempt at looking at a young woman hitting on a married man. It didn’t work because it lacked the art of tease; both had transparent motivations driven by simple reward and punishment. The script was poorly written. Rick and Fred had sex on the brain and I was disappointed in the fact that their characters were rarely allowed to bathe in double entendres. The duo wanted to have affairs but the material wouldn’t allow them to be dirty and conniving. It settled on featuring kids with smart mouths. It had no reason to hold back other than the fear of offending the majority of its audiences. It wanted to be commercially successful so it sacrificed edge. But edge is exactly what a movie like this needs. Since it was afraid to take risks, the material was painfully one-note. In its desperation to get laughs, it even had a scene with a black man with a big penis and a white man with a small penis. Why was that even necessary? Seeing a small penis is not funny. However, seeing a small penis with an accompanying joke or the perfect alignment of circumstances can be hilarious. And what was a person like Coakley (Richard Jenkins) even doing in this film? A man who could magically see through objects felt like crumbs on the bottom of a barrel. Why not focus more on the men’s emotions when their wives gave them the so-called hall pass? All the men in the movie were portrayed like sex-hungry dogs. It was insulting. “Hall Pass” was a bland meal when it could have been a tasty, ravenous feast. A comedy, like the best foods, is supposed to have different (and subtle) flavors. If something tastes bland, don’t you just want to stop eating or add something to the food in order to make it more bearable? That was exactly what I wanted to do with “Hall Pass.”
Eat Pray Love (2010)
★★★ / ★★★★
When Liz (Julia Roberts) decided that she wanted a divorce from her husband (Billy Crudup), with the support of her friend (Viola Davis), she bought tickets to Italy, India and Bali in hopes of finding true happiness. In her journey, she met many interesting people who, like her, were going through their own quest to find self-love and forgiveness. Italy appealed to the stomach, India to the mind, and Bali to the heart. Most audiences’ critiques I read about this film was that they felt like the story was painfully self-centered. I expected to Liz to be a spoiled, uncultured American who had no genuine reason to complain about her life. That wasn’t the case at all. I thought she had a brain and I liked the fact that she wanted something more than spending the weekends buying material possessions on credit. Instead of wallowing in her problems and not doing anything about them, she decided that she wanted to take control of her life and to be open to new kinds of perspectives from individuals who grew up in various customs. Of course, not everyone has the means to travel across the globe to sort out their problems, but I believe that a lot of married people are unhappy with the way things are. Most of them just won’t admit to it. Or worse, some of them have accepted that unhappiness is the norm and there isn’t a thing they can do to get out of a bad marriage. Adults, perhaps more female than male, will most likely find themselves able to relate to Liz’ identity crisis from body image to society’s expectations about what makes a convenient versus a happy marriage. We saw the story through Liz’ eyes so why shouldn’t the film have the right to be self-centered? I found the performances to be subtle and involving. Roberts was radiant as she played a character who felt like she had to fill a hole inside her in order to feel like she was truly alive. She had such ease weaving her character in and out of various places and dealing with polarizing personalities. I did not expect her to have much chemistry with James Franco but they were able to pull off their doomed relationship quite swimmingly. Even when Roberts was just in a scene by herself, I couldn’t help but smile. For instance, when she ate those saliva-inducing Italian food in slow motion, I could feel her having fun in her role. I wish she was in starring roles more often, especially these days, because there aren’t a lot of actors who can balance control and reckless abandon so beautifully and elegantly. Based on Elizabeth Gilbert’s memoir, “Eat Pray Love,” directed by Ryan Murphy, is ultimately about the big questions more than the answers. Liz may have gotten answers fit to her lifestyle. By providing them a possibility, perhaps adults stuck in unrewarding marriages would be inspired not necessarily to leave the country and live the life they’ve always imagined but to find something better than what is.
★★★ / ★★★★
Miguel (Christian Mercado) and Mariela (Tatiana Astengo), a happily married couple, were about to have their first child. Santiago (Manolo Cardona), a painter, visited the seaside village to see Miguel. Despite having grown up together in the coast, nobody knew about their secret affair. That is, until Santiago drowned one night and appeared in Miguel’s home as a ghost. Santiago’s spirit wouldn’t rest until he was given a very public burial. Rumors went around that Santiago was a homosexual and nobody wanted anything to do with him. They treated homosexuality as a contagion. They couldn’t even say the word. They used hand gestures to describe such a phenomena. So it was up to Miguel to give his lover a proper send-off. “Contracorriente” was a smart and moving film about a man torn between his identity and tradition. The beginning of the picture established the importance of tradition in Miguel’s community: the residents in the village attended church, they orally read from the bible, and they shared an open form of communication. When their tradition was challenged in the form of Miguel’s sexuality, it was difficult to watch our protagonist’s friends and neighbors turn their backs on him. His closest friends didn’t even bother to drop by when Mariela had her baby. But writer-director Javier Fuentes-León was careful in highlighting the complexity of the village’s situation. They lived in a bubble and it was probably the first time a gay person bothered to stick around despite the judging whispers and lack of eye contact. I liked that it showed people being capable of acceptance. In reality, while some treat a shocking revelation from the perspective of black and white, others just need some time to digest the information. Not every subplot provided a definite solution but there was a sense of closure that tied it all together. Despite not knowing a lot of details about how Miguel and Santigo got together, it was easy to see that their passion for one another ran deep. There was palpable pain when they discussed plans that never came into fruition and when they argued about being tired of pretending not to know each other in public. But the film was also about the love between Miguel and Mariela. There was a special bond between them not just because they were about to have a baby, but because they’ve learned to lean on each other when things became unbearable. Naturally, their bond was tested when Mariela found out the truth about her husband’s bisexuality. The film’s biggest risk was the ghost that only Miguel could see. It could be seen as a literal ghost, but I interpreted the spirit as the leading character’s guilt and anger for not summoning the courage to come out of the closet when his lover was still alive. The risk worked because the director was in control of the message he wanted to portray. I was impressed with “Undertow” because it was emotionally authentic without sacrifing an ounce of its complexity.