Tag: melting pot

New York, I Love You


New York, I Love You (2008)
★★ / ★★★★

I’ve been waiting for this movie to be released in theaters for more than a year so I was really excited to see it when it finally was. Unfortunately, out of the ten segments (presented in order of appearances on screen–directed by Jiang Wen, Mira Nair, Shunji Iwai, Yvan Attal, Brett Ratner, Allen Hughes, Shekhar Kapur, Natalie Portman, Fatih Akin and Joshua Marston) only about five worked for me–the second (starring Natalie Portman and Irrfan Khan), the third (Orlando Bloom and Christina Ricci), the fourth (Ethan Hawke and Maggie Q), the fifth (Anton Yelchin, Olivia Thirlby, James Caan and Blake Lively), and the tenth (Eli Wallach and Cloris Leachman).

I really wanted to love this movie as much as “Paris, je t’aime.” What made the first one so great is the fact that even though we encounter so many different genres and tones throughout the picture, it felt cohesive because we truly get a sense of who the characters were in under five to seven minutes. In “New York, I Love You,” it all feels a little bit too commercial. I felt as though it wanted to impress all kinds of people so much to the point where it held back emotionally and avoided taking risks. I’m also astounded by the fact that there were no homosexual storylines, barely any segments consisting of African-American or Latino characters, and most of clips consisted of a person falling in love or lust with another person. There are many dimensions of love (love for the city, love for a pet, love for oneself…) but it didn’t quite think outside the box. Those missing qualities are crucial to me because New York is supposed to be a melting pot of ethnicities, sexualities and mindsets yet we got to see the same kinds of people time and again. With “Paris, je t’aime,” we get diversity and in more than half of them, there was not a happy ending, which I thought was closer to real life than the stories presented in this film.

The five segments that I thought were standouts had a certain passion in every single one of them, whether it’s about a woman who doesn’t quite feel comfortable about getting married; an artist struggling to read one of Fyodor Dostoyevsky’s books and whose curiosity of a woman he’s only met through the phone bothered him to the core; a man who thinks one way about a woman turning out to be someone completely different than we all expected; a teenager who goes to prom with a blind date unknowing of the fact that his date is unlike anyone he expected; and a couple celebrating their marriage that lasted for more than sixty years. Those are the kinds of stories I want to tune into and dissect because hidden layers are embedded in them. What I don’t want to see is someone supposedly falling in love unless he or she has something truly significant or different to contribute. The other five segments that I didn’t quite like should have been taken out and replaced by stories from other genres such as horror or science fiction, or they could have had a different mood or perception such as in a black-and-white reality or featuring a person so wasted in drugs–a way in which we could see the world through their eyes. That would have made more sense to me because we are essentially a drug culture. Or it could have featured at least one fashion model or a fashionista because New York is one of the biggest fashion capitals in the world. Instead of really embracing to tackle issues mentioned previously, the movie was way too safe with those other segments.

Having said all of that, I have to admit that I’m particularly hard on this picture. Since I don’t do half-star ratings, it must be said that I consider this a solid two-and-a-half star movie. When I came out of the theater, I was certain that I was going to give it three stars out of four but after thinking about it a little bit, it made me realize how much potential it didn’t use to create a truly magnificent project. For such a fascinating place like New York City, you just can’t play everything safe and get away with it. At least not with me because I’m big on seeing diversity and reality in certain kinds of films, especially in slice-of-life cinema. I’m not saying at all to not see this in theaters. By all means, please do to support a film released only on limited release. But what I want you to take away from this review is the awareness that what’s being presented on this film is not the gritty and dirty New York but the clean, nice New York we see on a prime time television shows.

Hopefully, the next project from this film series would not be as afraid to branch out.

Gangs of New York


Gangs of New York (2002)
★★★ / ★★★★

I admire Martin Scorsese as a director but I do not think this film is one of his best even though I did like it quite a bit. “Gangs of New York” tells the story of Amsterdam Vallon’s (Leonardo DiCaprio) thirst for vengeance after his father (Liam Neeson) was killed in the hands of Bill “The Butcher” Cutting (Daniel Day-Lewis) when he was a child. But since this is a Scorsese film, it simply cannot be that simple. It was also about the frustration and eventual uprising of the poor against the corrupt rich and those of power, rivalry between gangs, the rapid rate of immigration to New York, and the intolerance that comes hand-in-hand when people of very distinct cultures and mindsets are forced to live together. It is an epic picture in every sense of the word but yet there’s something about it that made me believe that it did not quite reach its full potential. When I think about it, I believe that one of its main weaknesses is its almost three-hour running time. While the first twenty minutes were necessary to establish the movie’s emotional core, the next hour was banal. Nothing much happened except for the fact that DiCaprio’s character returned to New York and wanted to gain The Butcher’s trust. So they attend social gatherings together, walk along the streets, go drinking… Pretty much what “tough guys” were supposed to do back in the day, I suppose. I found it really hard to care; perhaps if the whole charade did not last for an hour, I would have stuck with it. However, it did regain its footing half-way through after The Butcher finds Amsterdam and Jenny Everdeane (Cameron Diaz) sleeping together. (It’s not a spoiler. Everyone should know it was bound to happen.) Starting with that scene, I felt like DiCaprio and Day-Lewis were playing a cat-and-mouse game from who they really are to what their motivations are, especially Day-Lewis’ character. The second part of the film felt so much more alive and exciting; I also noticed how grand everything looked–the set, the clothes, the soundtrack… I was sucked into this world that Scorsese had envisioned like I was in his stronger motion pictures. Nevertheless, I cannot quite give this film a four-star rating and feel good about it because it did have that one hour that was pretty unnecessary. Regardless, DiCaprio and Day-Lewis gave very strong performaces and should be appreciated. I loved it when they had scenes when it was just the two of them in a room. I felt like I was right there with them and feeling like I shouldn’t be.