Crazy Heart (2009)
★★★ / ★★★★
Based on the novel by Thomas Cobb and directed by Scott Cooper, “Crazy Heart” told the story of a 57-year-old musician named Bad Blake (Jeff Bridges) who traveled from one small town to another to perform songs that people loved back when he was in his prime. Completely trapped in the habit of smoking and alcohol, he slowly began to change his ways after meeting a charming music writer (Maggie Gyllenhaal) and her son. Bad Blake also had to deal with stepping out of the shadow cast by an artist he used to mentor (Colin Farrell), reconnecting with his 28-year-old son and writing new songs so he could stop living from paycheck to paycheck. The thing I liked most about this movie was its simplicity even though it was a double-edged sword. Between scenes with other actors, we got to see Bridges perform with his guitar and bare his soul. While the songs were definitely easy to listen to (and I’m not much of a country fan), I felt that it was meaningful to Bridges’ character because he had a look in his eye that he actually lived through the events that he was singing about. So I thought Bridges did a great job serving as an intermediate between the songs and the character’s life experiences. However, I wished that the film had spent less time building on the romance between Bridges and Gyllenhaal because I felt as though the whole thing became redundant (and sometimes forced). I understood that Gyllenhaal’s character was the key to Bad Blake’s redemption into getting his life back on track but some of the courtship rituals, though it tried to be not as typical as Hollywood movies, still felt typical in an independent movie sort of way. Instead, I felt like the movie would have been stronger if it focused more on the relationship between Bridges and Farrell because they shared a common history. It would have been nice if Farrell’s character had talked about how his mentor was like before becoming a faded musician. When those two interacted with each other, I felt real tension between them; I felt a strange mix of anger, jealousy and respect between the two which culminated when they shared the stage in front of 12,000 people. As I mentioned before, “Crazy Heart” is a simple film so it’s understandable why most people won’t initially recognize why it’s essentially a good film. Yes, it was sometimes predictable because we’ve all seen movies about washed-up musicians before. However, at least for me, with a movie like this, it’s all about the acting and I believe it ultimately all came together because I made a connection with the lead protagonist.
★★★ / ★★★★
I’ve seen Pedro Almodóvar’s work from the late 1990s to the present and have been nothing but impressed so naturally I became interested in seeing his older projects.”Matador” stars Antonio Banderas as a 22-year-old aspiring matador who was working under Nacho Martinez’ wing. When Martinez’ character asked Banderas if he was a homosexual due to his lack of experience with women, Banderas tried to prove his masculinity by trying to rape his mentor’s girlfriend (Eva Cobo). Eventually ending up in jail due to some strange coincidences and choices, a femme fatale lawyer (Assumpta Serna) came running to defend Banderas’ innocence. I love Almodóvar’s films because no matter how much I try to guess what would happen in the story, I always guess incorrectly. He has such a knack for telling unconventional stories that are funny, witty, tragic and ironic often all at the same time. The way he uses color to highlight a character’s fate or what he or she might be feeling and thinking always takes me by surprise even though I’m familiar with his techniques. I also was fascinated with the way Almodóvar used his characters’ occupations as a reflection of what they were really capable of when they think nobody was watching them. Admittedly, the writing can get a bit melodramatic at times but I think that’s half the fun of Almodóvar’s movies. He’s not afraid to reference to the supernatural, such as a certain character experiencing “visions,” to possibly make sense of the natural world. It’s the twists and turns that keep us wanting to watch. Like in most of his later projects, “Matador” was very passionate (or obsessive?) about sexuality–not necessarily sex–how his actors moved and delivered certain lines. Another element that I thought was interesting was the fact that Almodóvar used sex and violence as a backdrop to explore the darker side of human nature. The characters in this film were not necessarily good; in fact, they were far from innocent. But we root for some of them because the protagonists were capable of less evil than their counterparts. I wasn’t sure at first if I was going to enjoy Almodóvar’s earlier works but after watching “Matador,” I’m more than excited to see them. I just hope that they have the same level of vivaciousness, drama and sensuality as this picture.
Donnie Brasco (1997)
★★★ / ★★★★
Based on true events, director Mike Newell tells the story of how FBI special agent Joseph D. Pistone (Johnny Depp), whose mob alias is Donnie Brasco, climbs the ladder of the mafia hierarchy. Benjamin “Lefty” Ruggiero (Al Pacino) takes Brasco under his wing because Brasco can become somebody that he always aspires to be–a high-level member of the mafia who has genuine power so he can be proud of his life and the things he has done. As Brasco becomes more into the mafia life, he starts to detach from his responsibilities to his job and, more importantly, his family (Anne Heche plays his wife). “Donnie Brasco” was not the kind of movie I expected. Although I did expect for it to have very entertaining tough guy conversations that were common to gangster films, I did not expect it to have as much heart. The relationship between Brasco and Pistone was fascinating because the two almost had a father-son relationship. The tricky thing was that Brasco knew all along that he eventually had to turn Pistone in to the FBI; how could he do that to a friend or a father figure? The performances were exemplary, especially from Depp and Pacino, because there’s a real complexity and tension between the characters and their respective families. I felt like the more they tried to help each other out, the more their families’ lives started falling apart–as if their relationship was toxic or was never meant to be. I also really liked Michael Madsen as Sonny Black. His tough-but-cool persona reminded me of his character Mr. Blonde in “Reservoir Dogs.” Ultimately, this film is about the two lead characters’ evolution: one toward the mafia life and one away from it. For a two-hour running time, we wereable to observe the differences between what a character was thinking and what a character was doing. Although there were a plethora of similiarities between the two, the differences were enough to trigger a certain nuanced intelligence that are worth discussing when the credits start rolling. “Donnie Brasco” is arguably unlike other gangster pictures because it does not necessarily focus on how to be a gangster but on what it means to be a gangster. It’s worth seeing.
Role Models (2008)
★★ / ★★★★
I thought I would enjoy this comedy a lot more because my friends highly recommended it. Directed by David Wain, “Role Models” stars Paul Rudd and Seann William Scott as two energy drink salesmen who go to various school to preach that drugs are bad. I liked the humor of the first half more than the second half because the former deals with Rudd’s frustration with his brainless job. His perception of the world contrasts with Scott because Scott actually enjoys his job. When Rudd finally lost it after his girlfriend (Elizabeth Banks) dumps him after he made a spontaneous (if not ill-timed) wedding proposal, the two are sent to a mentoring center (jail was the alternative) which was led by the fantastically scary, on-the-edge ex-convict played by Jane Lynch. I also liked the dynamics between Rudd and Christopher Mintz-Plasse because the two of them have this inner geekiness that made me smile; while Scott and Bobb’e J. Thompson share a crude sense of humor that made me laugh out loud. What didn’t work for me was the whole thing about the medieval battles that pervaded the second half. I was bored out of my mind because I felt like Rudd and Scott were pushed aside instead of staying on the foreground and do what they do best: providing the audiences jokes that are witty and dirty (sometimes both at the same time). Instead of staying rude and crude, it somewhat took the safer route toward the end. I almost wished that it didn’t have a heart and embraced the dark comedy genre instead. At least that way, the film wouldn’t feel as though it was holding back in order to achieve some commercial success. It’s a shame because it does have funny material and enthusiastic actors but it didn’t quite push through in order to get to the next level. I say only see it if one has nothing better to do.