Love and Other Drugs (2010)
★★ / ★★★★
Charming sales representative Jamie (Jake Gyllenhaal) was fired from his job because his manager caught him having sex with a woman, who happened to be the manager’s girlfriend, at their work place. Belonging in a family with connections, Jamie didn’t stay unemployed for long. Jamie’s brother (Josh Gad) almost immediately snagged him a job as a pharmaceutical representative for Pfizer. While Jamie was busy handing out drug samples to various clinics, he met Maggie (Anne Hathaway), a woman inflicted with Parkinson’s disease. At first, it seemed like what Jamie and Maggie had was like any other one-night stand both of them were accustomed to. Eventually, they had to face the fact that maybe their relationship was heading somewhere deeper than they had expected. Based on a book by Jamie Reidy and directed by Edward Zwick, “Love and Other Drugs” was borderline unlikable because I almost found it pretentious yet eager to please. Let’s take the scenes that involved nudity. First and foremost, it felt nothing but a gimmick to attract younger people to go see the movie. The movie showed breasts and buttocks. Everything else was strategically hidden either by another body part or a nicely placed camera angle. It was distracting. Instead of being in the moment, I ended up thinking about its techniques’ false progressiveness. I have no problem with nudity, so if the filmmakers were to have a dozen scenes that ranged from meaningless sex to making love, they should be fearless in going all the way and leaving commercial reservations out the door. Instead, there was an awkward feel to the film. I had a feeling that it wanted to be a mix of an art house drama and a very commercial romantic comedy and it was neither. To a lesser degree, there were some scenes that I thought needed to be reshot because there were times when the acting felt disingenuous, especially by Hathaway. I’m not sure if she felt uncomfortable or she was just trying too hard. Either way, it didn’t feel natural. But the picture had bright spots. I appreciated the smaller and quieter moments like when Maggie asked Jamie to name four positive things about him. He couldn’t do it and there was a sadness that permeated from the screen. Some people just don’t know what they offer the world and that’s unfortunate. Another standout was when the film showed us how Maggie was really like without the drugs that masked her condition. It was a true turning point for the two lovers. “Love and Other Drugs” was like all pills: It had positive qualities but it also had pesky side effects. If it had trimmed its running time by getting rid of most scenes that involved the annoying brother and Jamie sweet-talking his way into women’s panties (we get it–he’s a stud), its heart would have been more defined.
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008)
★★★★ / ★★★★
I like to think of myself as an adventurous moviegoer so I’m on the constant lookout for movies that are vastly different from the mainstream. I’ve heard of the term “exploitation film” before (mainly from Quentin Tarantino because his movies often reference to that genre) but I never really knew what it really meant until I saw this film and did a bit of research about it. I really loved this documentary because I really learned a lot from it. I had no idea that Australia released all these cult classics, some of which have never been released in America. The way Australians made and released these daring movies in the 1970s and 1980s was so refreshing because nowadays, especially here in the United States, those kinds of movies are not made anymore. Once in a blue moon an exploitation flick (or a flick inspired from such like “Wolf Creek”) would be made but it was always under the radar no matter how good or bad it was. Speaking of good and bad, another thing that I loved about this documentary was it put the spotlight on good and bad movies alike and the people being interviewed explained why they thought a particular movie was good or bad (or sometimes even both). It fascinated me and I literally made a list of the movies wanted to check out. Some of them include “Mad Max” (1979), “Turkey Shoot” (1982), “Fairgame” (1985), “Dark Age” (1987), “Next of Kin” (1982), “Long Weekend” (1979), “Road Games” (1981), “Patrick” (1978), and others. The documentary, written and directed by Mark Hartley, was divided into several sections which started from movies about sex and nudity and ended with movies about car crashes and extreme violence. While it did cover a plethora of disparate motion pictures, I was also very impressed with the fact that it found enough time to discuss censorship (or lack thereof) in the era of Ozploitation. I wish this movement would repeat itself here in America because I’m starting to get sick of Hollywood trash being released in theaters weekly. Some days, I just want to see intense car chases with no real story but has a great sense of dialogue (like “Death Proof”) or even a movie about science gone wrong with buckets of blood on the side. Nowadays it’s all about the box office and watching this film really made me feel like the filmmakers wanted to make movies just because they were in love with the process–a reason why some of these exploitation films are so randomly original. I was so excited about the content of this movie, I decided to added some movies on my Netflix (the ones available in America anyway). I just want to see something so risqué and possibly something I can love and recommend to my friends when we don’t feel like going out and spending money.
★★★ / ★★★★
I was deeply touched by this biopic about a supermodel named Gia Carangi (Angelina Jolie) back in the 1970’s and 1980’s. Throughout the picture, I felt that her story was very personal because we got to see her evolve from a rebellious kid who was abandoned by her mother to a stunning supermodel who everyone wanted to worked with. At the same time, we also got to see her cocaine addiction, failed relationships and connection with others, and the eventual decline of her health because of AIDS. I’m glad that this film did not particularly glamorize the fashion world. In fact, I got a feeling that it was almost against it–as if it was one of the main reasons to blame that finally drove Carangi over the edge. Gia was far from a perfect person and therefore not free from blame but she had crucial moments when she took responsibility because she really did want to change. I admired the scenes when Jolie was posing in front of the camera looking extraordinary but such scenes also had voice-overs of what the photographers, the crew, and the other models’ real thoughts about Gia. It shows that something beautiful on the outside doesn’t necessarily reflect what’s on the inside, which I thought culminated when one of the women confronted Gia with such anger during one of the drug addiction sessions concerning the lies–on how to look like, how to act, and how to live one’s life–presented by the glossy fashion magazines. I also enjoyed the fact that Gia’s relationships were highlighted throughout the film: the mother who uses her as an accessory, who’s always there when things are good but almost never there when things are bad (Mercedes Ruehl), the loyal friend she met right before she was discovered and was there with her until the end (Eric Michael Cole), the agent who she saw more as a mother-figure (Faye Dunaway), and her on-and-off girlfriend who always wanted Gia to be the best she could be (Elizabeth Mitchell). While most people I know chose to see this for the nudity by Jolie, I have to say that this film goes beyond issues of the flesh. There’s a very real story and powerful lessons to be learned here; in fact, to be honest, the “sex” scenes are not that shocking to me because I’ve seen all kinds of movies with all kinds of sexual acts. For me, the sole purpose of watching this picture for the nudity is a sign of disrespect for Jolie’s acting abilities and Gia’s memory. Directed by Michael Cristofer, “Gia” is a triumph on multiple levels (especially Jolie’s acting) and should be seen with an open mind and sensitivity.