★★★★ / ★★★★
The film started off with General George Patton Jr. (George C. Scott) delivering a speech about war and the importance of winning being embedded in the American culture with the gigantic United States flag on the background. It was probably one of the most patriotic scenes I’ve seen portrayed on screen, but at the same time I felt that the picture was making fun of itself. The scene aimed to establish our main character: He was intimidating because he was obsessed with discipline and excellence. His reputation as being one of the feared generals, especially by the Nazis, was well-earned because he was an uncompromising man. Fear sometimes generates respect. The film was beautifully shot. In war pictures, I find it uncommon that I notice the environment because, to me, at least with the more recent war movies I’ve seen, the environ is simply a template where we get to see bombs exploding like there’s no tomorrow. But in “Patton,” I found the second scene outstanding because it featured a peaceful landscape in the Arabian desert where American soldiers’ bodies laid lifeless as Arabian people stole the soldiers’ clothes and other belongings. Again, there was the theme of duality. On one hand, it was sad to see those dead and rotting soliders. On the other hand, we could look at the Arabian people and see that looting was their chance for survival because they obviously didn’t have much. The film is different than other war movies. With “Patton,” we don’t follow any soldier in the battlefield or realize any of his personal struggles. It simply followed the general during his glory days as he tried to compete against British Field Marshal Sir Bernard Law Montgomery (Michael Bates), attempted to outsmart German Field Marshal Erwin Rommel (Karl Michael Vogler), his probation because he slapped a soldier around for complaining about being afraid of the sounds of war, up until he regained his footing in the military. Throughout his journey, we learned so much about him such as his passion for poetry and penchant for history. The latter was his strength but at the same time it was his weakness. His enemies who didn’t know much about history often lost but those who were knowledgeable thought Patton was predictable and almost pretentious. Naturally, his strongest enemies were the ones who were just as smart as him. No one can argue against Patton’s biggest weakness being his mouth. He had no filter; he didn’t think he needed one so he was prone to saying the most inappropriate things during the most inopportune time. “Patton,” directed by Franklin J. Schaffner and partly written by Francis Ford Coppola, won seven Oscars (including Best Picture and Best Actor) not only because of its epic scale but also because of its small details that made this biopic all the more personal.
★★★ / ★★★★
When the emperor of Rome (Richard Harris) was murderered by his own son Commodus (Joaquin Phoenix), Maximus (Russell Crowe), general of the Roman empire, wanted to honor the dying man’s wishes by helping the empire turn into a republic again. This didn’t sit well Commodus because he craved for power and wanted to prove that he would be a great ruler by leading a dictatorship. The first time I saw this film, I wasn’t impressed with it. I thought the story was all over the place, the characters were simplified for the sake of being commercial, and there were a handful of glaring idioms that did not fit for its time (it was set in year 180). While I think that those flaws are still applicable, I found myself liking the movie the second time around for two reasons: this role being one of Crowe’s more moving performances and the intense action sequences. Without a doubt, the picture relied too much on the battles in the colosseum to generate some sort of tension. However, it was effective because we like the characters fighting for their lives such as the friends/fellow slave-turned-gladiators (Djimon Hounsou, Ralf Moeller) who Maximus met along his journey. I caught myself voicing out my thoughts such as “Hurry up and get up!” and “Watch out for that tiger!” No matter how much I tried, there was no way I could have kept quiet because I just had to release some of the stress I felt at the time. I also enjoyed watching Oliver Reed as the man who owned the gladiators; I found his past interesting and I wished the film had explored him more because he could have been a strong foil for Maximus. The scenes they had together were powerful because they respected each other but at the same time they didn’t want too be friendly because, after all, one was “owned” by another. Another relationship worth exploring was between the late emperor and Maximus. They treated each other like father and son but it felt too superficial, too planned. Commodus would walk in on them and feel jealous and unloved. But what else? “Gladiator,” directed by Ridley Scott, was loved by many because everything was grand and it wore its emotions on its sleeve. However, I’m still not convinced that it is Best Picture material because it often chose the obvious over the subtle path too frequently. For a sword-and-sandals epic with a two-and-a-half hour running time, while the action scenes were highly entertaining, there was no excuse for a lack of depth involving most if not all the characters. Therefore, as a revenge picture, it didn’t quite reach its potential.
The King’s Speech (2010)
★★★★ / ★★★★
Prince Albert, Duke of York (Colin Firth) had a speech problem so he and his wife (Helena Bonham Carter) tried to find a speech therapist who could “cure” the future King George VI’s condition. After seeing many medical practitioners to no avail (the doctors actually encouraged the prince to smoke cigarettes), Prince Albert’s wife hired Lionel Logue (Geoffrey Rush), a man with, at the time, unconventional ways of dealing with stuttering. As Prince Albert and Lionel spent more time together, they were successful at taking small steps forward. But each step meant Prince Albert was that much closer to becoming king, due to his father’s (Michael Gambon) death and older brother’s (Guy Pearce) abdication from the throne, and leading his people in World War II. I don’t know much about British history, but I was very engaged with what was happening. Most importantly, it didn’t feel like a history lesson. The film was a classic character study about a man who was capable of being great but a speech impediment held him back greatly. There was a positive feedback between his lack of confidence and his fear of being judged by his people. We may or may not stutter but most of us share an anxiety when it comes to public speaking. I didn’t expect the picture to have such a great sense of humor. When the characters talked about sex, they were packaged in little suggestions through wordplay and euphemisms. The actors were sublime in delivering the humor without actually winking at the camera. The joke was in the words followed by their body movements and the awkward looks they sent each other’s way. Stuttering and other speech disorders are serious issues but the material dealt with it in a fun but always respectful way. Lionel’s view that a speech disorder was not necessarily always directly related with the machanics of the mouth and facial muscles but might have sprouted from a deep psychological trauma was interesting. Although reluctant at first, Prince Albert eventually opened up about a heartbreaking childhood experience. I looked forward to their sessions because there was a division of class and that division was challenged by the slowly growing trust between the doctor and his patient. That trust between two men coming from different worlds was crucial because the future king would eventually have to make an encouraging speech to his people, a symbol that he was qualified to lead their kingdom, and announce that they were at war with Adolf Hitler. Without Rush and Firth’s strong but subtle acting, aided by Tom Hooper’s assured direction, the material could easily have been heavy-handed. Or worse, it could have been about the speech disorder itself instead of the man who happened to have it. “The King’s Speech” reminds most of us how much we take simple things for granted like being able to speak without having to worry about whether or not our mouths will form the right words.
127 Hours (2010)
★★★★ / ★★★★
Based on the book “Between a Rock and a Hard Place” by Aron Ralston that detailed his ordeal in the breathtakingly gorgeous canyons of Utah, “127 Hours” was intriguing to say the least. James Franco played Aron, a man in tune with nature, who loved to explore and to push himself physically and mentally. After helping out two women (Kate Mara and Amber Tamblyn) navigate their way through the canyons, Aron slipped and a giant rock crushed his hand. Aron was stuck and it seemed as though no matter what he did, there was no way out of his predicament. I’ve always believed that great actors can give us a moment, even as short as a millisecond, and inspire us to write a thousand words about that specific moment in time. Franco achieved just that with the look of disbelief he had on his face after realizing that he was literally caught between a rock and a hard place. As grim as the situation was, there was a certain comedic effect to it that I find difficult to describe. Perhaps that’s a part of its brilliance. The movie was, without a doubt, challenging to sit through because it expected us to watch a man suffer for more than an hour, but Franco’s likability ultimately carried the film. Through his hallucinations, fantasies, and flashbacks, we had a chance to learn about Aron such as what and who was important to him. I wish there were more scenes with Treat Williams as Aron’s father and less Clémence Poésy as our protagonist’s ex-girlfriend. We learned that Aron was resourceful and smart. I was engaged because he tried the things I would have done if I was the one stuck in his predicament. For instance, creating a pulley to lift the rock to create a greater force instead of simply chipping through it. I had to laugh myself while watching the movie because I kept thinking, “Think Physics!” Furthermore, there were some potential solutions I didn’t think about and I was curious as to what extent it would work (considering I already knew what Aron had to do to extricate himself from the boulder). Director Danny Boyle made an excellent decision to give us little rewards before delivering the intense, flinch-worthy climax. For instance, the gasp-inducing burst of tension when Aron dropped his small knife. Was he physically capable of getting it back? Outside of Aron’s increasingly desperate struggle in the canyon, Boyle created an amalgamation of images and sounds to serve as a contrast to Aron’s experience. Even before Aron got stuck, there was already excitement in the air so I was pleasantly surprised. “127 Hours” could have been fat with clichés or, worse, turned into an unintentional horror movie. Instead, it remained focused in telling a story about the human spirit.
The Fighter (2010)
★★ / ★★★★
Mickey Ward (Mark Wahlberg) and Dicky Eklund (Christian Bale) were half-brothers who had a talent and heart for boxing. Dicky was the older one who spent his time reliving his former days of glory. His family, led by Melissa Leo as the matriarch and manager, believed Dicky could make a comeback as they turned a blind eye toward his drug addiction. Mickey, after his family guilt-tripped him into fighting a boxer much bigger than him and being beaten to a pulp, began to think about accepting an offer for a year-round training, with pay, in Las Vagas. This didn’t rest well with the rest of the family except Mickey’s father (Jack McGee) and new girlfriend (Amy Adams) who offered full support. Directed by David O. Russell, “The Fighter” had all the elements to make a truly inspiring film about a man eventually overcoming all odds, but it fell short because Mickey was overshadowed by those who surrounded him. With such spicy personalities offered by Bale, Leo, and Adams, Wahlberg’s character was simply there instead of shining above the rest. He played the mediator, someone who held his tongue just in case someone would get offended by what he had to say, so he ended up boring. He was a bland wall; everyone else were colorful spots on it. I wasn’t convinced that Wahlberg had found a way to make Mickey’s silent suffering relatable or endearing. Some critics’ comparisons to Martin Scorsese’s “Raging Bull” in terms of the intensity and realism of the boxing matches were hyperboles. I suggest the same critics watch Manny Pacquiao’s boxing matches if they want to experience first-rate edge-of-your-seat entertainment. The boxing sequences in this film were commercial and the emotional impact was diluted by quick cuts and obnoxious soundtrack when it should have been primal. I kept waiting for the many distracting elements to subside, especially during the key final match, but the director opted to assault our senses. Sometimes less really is more. I thought the drama behind the scenes, particularly the mother’s increasing awareness that she could no longer manage (or control) her son’s career, were far more interesting. Furthermore, I found Adams’ performance magnetic as she tried to stand up for herself and Mickey against the family matriarch and sisters who had a pack mentality. I’ve never seen her so edgy, so stripped down. Lastly, Bale was excellent as someone who was torn between his addiction and complete adoration for his brother. He was perhaps the most complicated character because there was no doubt in our mind that he wanted the best for Mickey, yet the decisions he made were not always smart. It’s too bad his addiction was more often played for laughs. “The Fighter” was very good in terms of acting but it desperately needed to find focus on the themes it wanted to tackle. It didn’t feel like a complete work.
True Grit (2010)
★★★ / ★★★★
Mattie Ross (Hailee Steinfeld), a plucky fourteen-year-old girl, was adamant about finding Tom Chaney (Josh Brolin), her father’s cold-blooded killer, and getting even. She left her grieving mother and siblings at home while she went to town to hire a competent bounty hunter. She crossed paths with an alcoholic U.S. Marshal Rooster Cogburn (Jeff Bridges) who was first reluctant to tackle the task. Mattie desperately wanted him because she claimed he had “true grit” or the right spirit she was searching for. Mattie and Cogburn were accompanied by a Texas Ranger named LaBoeuf (Matt Damon) who also wanted to bring the criminal to justice. The western genre is normally not my cup of tea, but I couldn’t help but enjoy this film. Steinfeld’s energetic performance as a headstrong girl who wanted vengeance instantly caught my interest especially the very amusing scene when she tried to sell back the horses her late father bought. In just one simple scene, Steinfeld established that Mattie was intelligent, resourceful, and unafraid to bluff when the occassion called for it. She saw adults as untrustworthy so she had to be self-reliant and use fear to motivate others. Adults saw her as a child who didn’t know any better. On the positive side, she could get away with certain things that older folks simply would not. Much of the picture’s humor was embedded in the scenes where Cogburn and LaBoeuf tried to ascertain which one of them was the more effective lawman. Cogburn, aging and a drunkard, just didn’t know when to quit while he was ahead and LaBoeuf was difficult to take seriously because he walked around as if he already deserved to be respected. Bridges was successful in delivering the softer side of a man who wanted minimal contact with the world. Meanwhile, Damon complemented Bridges’ character by wanting to be seen, heard and admired. It was obvious that both were having great fun with their roles. As opposite as Cogburn and LaBoeuf were, the two could make a great duo when the situation turned grim. I admired the look of the film because I felt transported to that era. The contrasting images of the blistering hot desert and the bone-chilling snowy nights not only were great visually but they reflected what the characters felt, especially Mattie since we saw the story from her perspective, during their arduous journey. I just wished we had a chance to get to know Chaney a bit more in order to make room for another layer of complexity. Based on Charles Portis’ novel and directed by Ethan and Joel Coen, “True Grit” was a straightforward and character-driven revenge story. Simple is not something I’m used to when watching Coen brothers picture. Maybe that’s the irony.
Winter’s Bone (2010)
★★★★ / ★★★★
A seventeen-year-old girl named Ree (Jennifer Lawrence) had to take care of her younger brother and sister (Isaiah Stone and Ashlee Thompson) because their mother had reached a mental breakdown and therefore could not take care of them. Their situation turned for the worse when their father, who recently spent time in prison for making illicit drugs, skipped bail and put their house as collateral. With nowhere to go and not knowing what to do, the eldest child started asking her relatives about the whereabouts of the father but no one was willing to come forward and divulge information. When you live in a metropolitan area in America, it is easy to forget people like Ree and her family who had to cope with extreme poverty. As heartbreaking to see the children suffering from not having enough food day in and day out, I admired that the film did not rely on pity to tell a compelling story. The material had a defined understanding behind the meaning of this family’s specific circumstance. Ree was probably one of the bravest film characters I’ve encountered in quite some time. I immediately rooted for her because of the way she, if necessary, put herself in harm’s way so that she would be able to continue the already difficult task of raising a family. She was smart, resourceful, and determined but those were not positive attributes from the perspective of a community that used drugs to make a living. Even though the many families in question had a strict code of silence that prevented Ree from arriving at certain truths, I did not hate them because I knew that they had to look out for their own survival as well. Like Ree, they, too, had families. Two key supporting characters were the intimidating uncle named Teardrop (John Hawkes) and an older but strong woman named Merab (Dale Dickey). The most touching moments were the simple ones. When Ree interacted with her brother and sister, such as teaching them how to shoot a gun or how to skin a squirrel, there was so much love even though their living conditions were far less than ideal. The kids looked up to her and they should because their big sister constantly tried to set a great example. One of the most memorable scenes was when Ree tried to enlist in the army. Lawrence did a fantastic performance especially in that scene because I felt beyond her pain and desperation. I also felt her fear of getting into something that she was not quite sure was truly about. Written and directed by Debra Granik, “Winter’s Bone” painted a memorable portrait of people living in rural America. It showed that sometimes the smart decision is not necessarily the right one.