★★★★ / ★★★★
The people who claim that this is another “Borat”-style kind of documentary are the exact same people who believe in god to such an extent that they’re willing to delude themselves that Bill Maher is not asking questions worth answering. I do think that Maher asks valid questions to the religious individuals featured (whose religions range from Christianity, Islam, Mormonism and Scientology) but he is smart enough to not let go of that trademark sense of humor that made him so famous. Even though I was born a Catholic, I do not affiliate myself with any religious group because, to be blunt, I think the whole thing is a crock. Even though my parents are Catholics, they provided me the freedom to choose and think for myself so I’m going to exercise it until the day I die. When I watch documentaries that challenge any religion, excitement comes over me because I love taking apart people’s arguments from both sides and decide which side is weaker. Although Maher did bring up a plethora of excellent points, I can admit that there were times when I wished he went straight for the jugular instead of dancing around the issue and eventually reaching it. However, Maher had enough insight to keep me on my feet and such insights made my arguments that much stronger the next time I get into a debate about religion. Another thing I liked about this film was its fast cuts to random images like Jonah Hill, cartoons aimed for children, older films that tell a story from the Bible, nuclear weapons going off, and even Maher’s childhood videos–all of which serve to provide a sense of humor and to support certain arguments on how ludicrous biblethumpers really are. One downside about this documentary, however, was that it lost a little bit of that great momentum in the final twenty minutes. There were less laughs because the jokes weren’t as sharp even though it’s still making fun of religion and people who build their lives around it. I highly recommend this film especially to agnostics and atheists. I doubt anyone with a strong set of religious beliefs will change their minds. There were a couple of quotes that stood out to me but this quote pretty much embodied the film’s argument: “Religion is dangerous because it allows human beings who don’t have all the answers to think that they do. Most people would think it’s wonderful when someone says, “I’m willing, Lord! I’ll do whatever you want me to do!” Except that since there are no gods actually talking to us, that void is filled in by people with their own corruptions and limitations and agendas.”
Angels in America
★★★★ / ★★★★
Since this film runs for six hours, Netflix divided the movie into two discs. I will review the first half and then the second half because I saw the latter a couple of days after I saw the former. I admire the first part of this picture because it’s not afraid to fuse realistic and fantastic elements that share one common goal: to show how the AIDS epidemic, pretty much unknown at the time, impacts those people who have been infected and those they care about. But it actually rises above its main thesis: it also manages to tackle issues like denial of one’s homosexuality, what it means to be a lover and a friend, power struggle in the business world, relationships by means of convenience…
On top of all that, the performances are simply electric, especially Al Pacino, Patrick Wilson, Meryl Streep, and Emma Thompson. We don’t see much of Streep and Thompson in the first half but whenever they’re on screen, they completely involve the audience because they know how to balance the obvious and the subtle so well. They have a certain elegance that no ordinary actor posesses. As for Pacino, he’s a master of reaching one extreme to the next without ever having to sacrifice his character’s believability. I can argue that he’s one of the most complex characters, out of many, that this film (which is based on a play) has to offer. As Pacino’s protégé, I think this is Wilson’s best performance that I’ve seen. As a closeted Mormon homosexual, he tries so hard to hide who he really is to the point where his emotional pain becomes physical. In most of his scenes, I could feel his sadness, anger, frustration, and (eventual) relief–all at the same time. He has such a poetic face that’s so expressive; I couldn’t take my eyes off him. His relationship with his wife, played by Mary-Louise Parker, is complicated, to say the least, because Wilson considers her as more like a friend but she considers him to be a husband. Other noteworthy actors include Justin Kirk as an AIDS patient who is abandoned by his lover, played by Ben Shenkman. Jeffrey Wright is amazing because he speaks the truth without apologies. He plays multiple characters like Streep, Thompson, and Kirk but Wright is the one that I can relate with the most. The idea of escape is crucial ranging from experiencing hallucinations to doing or saying the opposite of what the person actually means to do or say.
As for the second half, the idea of interconnectedness is more prevalent. Since the characters are finally established, they are allowed to interact and play with each other a bit more. This means that strong acting is at the forefront. But what I found most frustrating was the fantastic elements overshadowing reality half of the time. Even though those fantasy scenes do contribute to the overall big picture, they are so cheesy and slow to the point where I found myself checking the time. I was more invested with the reality because the characters that we care about are dealing with things that have something to do with reality like disease and acceptance. Faith is merely the background and focusing on it too much is distracting at best. I thought the way the film ended was handled well; not everything is neatly tied up and the way the actors looked into the camera to convey their last messages was, strangely enough, effective.
This film has such a huge scope but it delivers on more than one level. I found it consistently interesting because it is character-driven and the characters behave like real people. In end, pretty much all the characters have changed in some way. Even though this was released back in 2003, I still consider it to be one of the most important films of the 2000’s.