We Need to Talk About Kevin (2011)
★★★ / ★★★★
Eva Khatchadourian (Tilda Swinton), a once popular author, woke up and found the front of her home covered in red paint. After an interview with a traveling agency, a woman came up to Eva and smacked her across the face, leaving her a bloody nose. A man came to help and asked if he should call 911, but Eva insisted it was completely her fault. We learned that Eva’s son, Kevin (Ezra Miller), murdered some of his classmates back when he was only fifteen. Most of the community held Eva responsible for raising such a morally deficient child. Based on a novel by Lionel Shriver, “We Need to Talk About Kevin” posed very interesting questions about parenting and its role in raising a child who could function in society. Specifically, are there some people who are born evil? The picture explored this question with succinctly maneuvered flashbacks. Eva and her husband (John C. Reilly) enjoyed traveling, learning about other cultures, and having fun together. When Eva learned that she was pregnant, she equated this as the end of her independence. I admired that the film left her feelings toward the being in her womb to be quite ambiguous. Her emotions weren’t as clear as black and white as most would readily jump into. We saw her examining her figure in front of a mirror. Maybe she was concerned what the pregnancy was doing to her body. After all, it was her first time. We watched her looking listless around other pregnant women who seemed very social and excited about being with child. Maybe Eva feared the idea of giving birth and didn’t feel like sharing her feelings with strangers. And that’s alright. There was not one definite clue convincing enough for us to say, without a doubt, that she hated her unborn child. While she could have put more energy or enthusiasm in being pregnant, the fact is that women react to pregnancy in different ways. When the child was born, it was an entirely different matter. I loved that the film was able to switch gears so effortlessly without sacrificing an ounce of subtlety. From what I observed, Eva wanted to love her son but Kevin was a very difficult baby and an impossible toddler. I didn’t always agree with Eva’s methods and I certainly don’t think we were supposed to. I thought the material was ingenious because by providing us a series of meticulously crafted scenes of Eva’s bad parenting, it was like putting us in the shoes of that woman who hit her in the beginning of the film. The issue was our judgment of Eva although for entirely different reasons. Even I have to admit that there were times when I wanted to shake or yell at her. One of those times involved Eva putting her baby near an active jackhammer in order to drown his inconsolable crying. While I felt bad for Eva for feeling that she was an ineffective parent, she could’ve handled the stress much better than putting her child near a construction zone and endangered him of turning deaf. “We Need to Talk About Kevin,” directed by Lynne Ramsay, was smart because, although relevant, it was not about the killings that happened in the school. Notice that the violence was not shown, only the aftermath. By focusing on Eva and her feelings of inadequacy, anger, and depression, the film put a face on a tragedy that permanently changed people’s lives. I certainly didn’t feel for Kevin as a teenager. He was so wrapped up in his hatred toward his mother that eventually I began seeing him as a bomb just waiting to go off. I believe that there are some people who are beyond help. They can’t help it because of the chemical imbalance in their brains. I believe Kevin was one of them and his unpredictability was a great source of suspense.
★★★ / ★★★★
Johnny Marco (Stephen Dorff) was a successful actor who lived in a posh hotel. He spent his days playing video games, sometimes attending interviews to promote his upcoming film, but there were times when he just sat around and stared into nothingness. His nights consisted of partying, drinking, watching two blonde exotic dancers work a pole, and sleeping with women he barely knew. In his case, a successful career did not equal happiness. Written and directed by Sofia Coppola, I feared that “Somewhere” began on the verge of insularity. Johnny driving around in circles in his fancy car was a heavy metaphor of his life going nowhere and fast, supported by unnecessary and more symbolic extended scenes. For example, the two women dancing on and around a pole which finally ended when Johnny fell asleep. I get it–he was apathetic even to things that excited most men. The director was so desperate to show us that Johnny was a lonely person when she didn’t need to. The moment Cleo (Elle Fanning), the actor’s eleven-year-old daughter, arrived, the story picked up because of her young, vibrant energy. The scene that stood out to me most was when the father, in such a simple way, looked at his daughter dancing on ice. It was one of the very few scenes when Johnny wasn’t the one being watched. When he was at the hotel, women gave him seductive looks. Sometimes a fan would recognize him and he or she would try to make banal conversations. When Johnny drove around Hollywood, he felt like he was being followed by someone in a black SUV. Many of the scenes centered around people looking for or looking at him. When nobody was looking at him, it was refreshing for him. He felt like he could breathe, like he was as normal as he once was. It felt like freedom. Furthermore, watching his daughter was the moment when I believed Johnny made an active decision to strive to be a better man–not necessarily the best father, but a better person who could be there for his daughter regardless of the reason. His personal promise was tested when Cleo’s mother, presumably divorced from Johnny, suddenly decided that she needed a break from life. Johnny had to go to Italy for the premiere of his movie so he took Cleo along. Cleo didn’t always agree with her father’s lifestyle, especially sleeping with random women and allowing them to stay until morning, but she wasn’t a brat. She internalized yet her eyes said everything what simple words couldn’t express. I was able to relate with her because I tend to do the same thing when I’m upset with someone who caused a negative situation. I believe “Somewhere” had a wonderful lesson about parenting. Sometimes a parent being there is just what a child needs. I stared into Johnny’s eyes and I couldn’t help but feel moved. It was like looking into the eyes of parents who think they’ve failed or that they’ve achieved nothing, not realizing that, in their children eyes, they mean absolutely everything.
Teenage Paparazzo (2010)
★★ / ★★★★
While out in Los Angeles, Adrian Grenier, who directed the film, noticed a thirteen-year-old paparazzo trying to get his attention in order to get the perfect picture. His name was Austin Visschedyk and it seemed like he had been a pop-stalkerazzi, a term he despised, for quite some time. Intrigued with Visschedyk, Grenier decided to contact the teen and make a movie about him and the fame he tried to capture using his expensive camera. “Teenage Paparazzo” had some interesting tidbits to say, some involving the ethics of paparazzi and privacy, but its vision wasn’t always clear. The first half of the picture was Visschedyk’s almost obsessive nature in capturing images of celebrities. He claimed it was fun, easy, and one great shot could get him a thousand dollars. And while he acknowledged that there were dangers in being a part of the paparazzi (he carried pepper spray), he turned a blind eye most of the time. He wasn’t the only one in denial. His parents allowed him to stay out past 3:00 A.M. (including school nights) to follow celebrities in downtown Hollywood. I’ve been in downtown Hollywood around that time of night and to say that the area is “unsafe” is an extreme understatement. The parents’ defense was they wanted to encourage him to pursue his passion. However, most of us can say that it’s simply a case of bad parenting. The second half, while backed with research about teens and how important fame was to them, it felt unfocused because it moved away from Visschedyk’s story. The documentary eventually became more about young people craving to become famous in any way, shape, or form. There was a survey given to middle school students which showed that they would rather become assistant to celebrities instead of being a CEO of a company, presidents of Ivy League institutions, and other prestigious positions. While it was a shocking result, it did not fit the thesis of the movie. I enjoyed the film best when Grenier and Paris Hilton showed the ridiculousness of trashy gossip magazines and television shows like TMZ. The duo informed Visschedyk and his paparazzi friends that they would be at a certain place and time and the rumors created from the pictures were amusing. It was great to look at things from behind the scenes. All the more disappointing was the fact that there were nice insights from great actors like Matt Damon and Whoopi Goldberg as well as intellectuals like Noam Chomsky. It wouldn’t have been a missed opportunity if the connection between the teenage paparazzo’s story and fame was stronger. Visschedyk’s admission that he wanted to be famous was not enough. I’ve seen his website and I have no doubt that Visschedyk has a gift for photography. In the end, I’m happy there was a glimmer of hope that he could channel his talent to something he could actually be proud of.
The Art of Getting By (2011)
★★ / ★★★★
George (Freddie Highmore), a senior in high school, was in danger of not graduating. Ever since he read a depressing quote about mortality that pushed him to stop caring about doing well in school and forging meaningful friendships, he began to lead his life like a leaf on a stream. But when a popular girl, Sally (Emma Roberts), with whom he had a crush on for years, started to notice and spend time with him, he considered that maybe fatalism was not right for him. “The Art of Getting By,” written and directed by Gavin Wiesen, adopted a passive approach in telling George’s story. While interesting when done right, it failed to work in this instance. There was no sense of urgency nor was there any drastic changes in tone. This technique didn’t make much sense because George was eventually supposed to wake up from his apathy. Even I would have preferred it more if it had taken a more heavy-handed approach. But the lack of logic was not only present behind the camera. George was a young adult who was drowning only he didn’t know it or wouldn’t accept it. Why didn’t his mother (Rita Wilson) and stepfather (Sam Robards), despite the fact that they had their own pecuniary matters to deal with, choose to be more vocal or proactive about their son’s future? They claimed they wanted to see change in him. But when they saw him laying on his bed instead of attending school, they meekly closed the door because he demanded to be left alone. While he was exemplary when it came to looking sad, what would make sense was for either of the parents to drag him out of bed. A good parent, a parent who genuinely cared, would have. Later, we were asked to sympathize for the parents. How could we when it was so obvious that they chose to neglect their child? As for George and Sally, their relationship was supposed to be romantic down to the final second of the film. But notice that when two bonded while skipping class and stalking men in the streets, the soundtrack took over. Remove the soundtrack and it wouldn’t be easy to see that their interactions were, at best, superficial. Nevertheless, there was one scene between them that I liked. On New Year’s Eve, they went clubbing and drinking with their friends from school. While on the dance floor, Sally allowed another guy to cut between them which caused George to retreat. If she was supposed to be likable or even remotely smart, why did let that happen? Girls, if they have an iota of self-awareness, know when guys are into them. She only later appeared to him after he vomited profusely and claimed that she had been looking for him for two hours inside. I didn’t believe her for a second. Later, George called Sally a “hussy.” I laughed because it was true. I wish there were more scenes between George, his teachers (Alicia Silverstone, Jarlath Conroy), and the principal (Blair Underwood). Out of anybody in the movie, they were the ones who actively took a role in letting George know that his life was about to be in the gutter. They weren’t afraid to perform some tough love either. “The Art of Getting By” was misguided even though its intentions were good. By focusing on trivial things like George attempting to win over a girl who was prone to vacillate, it felt superficial. People like the protagonist are, unfortunately, found in many high schools. If they are to be inspired, they need better material than this.
★★★★ / ★★★★
Paddy Conlon (Nick Nolte), a recovering alcoholic nearing his one thousandth day of being sober, found his younger son, Tommy (Tom Hardy), sitting on his porch. They hadn’t seen each other in fourteen years. But the reunion couldn’t be colder. Tommy, an ex-Marine, despised his father and claimed that the only reason why he showed up was because he needed a trainer for Sparta, a middleweight championship for mixed martial arts, where the winner would receive five million dollars. Meanwhile, Brendan (Joel Edgerton), Paddy’s eldest son, felt extreme financial pressure. As a physics teacher, he and his wife (Jennifer Morrison) didn’t make enough to pay for their mortgage. They were given a couple of weeks until their house was to be taken by the bank. So, Brendan joined the tournament, completely unaware that his younger brother, who he also hadn’t seen in more than a decade, was participating. Directed by Gavin O’Connor, “Warrior” was equally spellbinding when the characters were inside and outside of the ring. The brothers hated their father for the way he treated them and their mother when they were still growing up. The writers made a smart decision in showing us Paddy as a man on the way to recovery but never as an abusive parent. It became easier to sympathize with him. It was unnecessary to show us the latter because the psychological and emotional damages were painfully apparent in the adult Tommy and Brendan. Tommy became a pill-popping, reticent, angry figure while Brendan strived to be everything his father was not to his own wife and children. Interestingly, they shared only one scene before the tournament. It was beautifully executed and completely heartbreaking. As one inched closer to one another, their animosity and frustration became palpable and suffocating which served as a great contrast against the open space that surrounded them. I was at the edge of my seat because I almost expected them to resolve their problems by throwing punches long time coming, outside of the competition with no referee to force them to stop. However, the most powerful scene was between Tommy and Paddy. While sitting in front of a slot machine, Paddy approached his son to express that he was proud of him. Tommy responded bitterly, comparing his father to a beggar who was desperate for his sons’ affections, blind to the fact that the only thing his two sons had in common was they no longer needed him, and his decision to become a good father was years too late. The camera was nicely placed very closely in front the actors’ faces as to savor every negative emotion. In addition, it was easy to see how much their characters restrained certain words, especially the father, out of fear in regretting it later. It was like watching someone attempting to tiptoe around broken glass accompanied by a force that propelled him forward in rate he wasn’t comfortable with. “Warrior,” based on the screenplay by Gavin O’Connor, Anthony Tambakis, and Cliff Dorfman, went beyond the pain experienced in body slams, direct punches to the face, and heavy kicks to the stomach. We rooted for both Brendan and Tommy because we understood what winning meant for them personally–something worth more than half a million dollars.
Cold Fish (2010)
★★★★ / ★★★★
When Mitsuko (Hikari Kajiwara) was caught shoplifting by a store manager, he called her father, Syamoto (Mitsuru Fukikoshi), and stepmother, Taeko (Megumi Kagurazaka), before calling the police. But when Murata (Denden), the store manager’s friend who happened to be on the same tropical fish business as Syamoto, came barging in the office to brag about his gigantic rare fish, he persuaded that the police needn’t be involved. Syamoto and his family were very grateful, but Murata wasn’t as generous a man he seemed. Behind his fish business, he and his wife, Aiko (Asuka Kurosawa), murdered people for money. Written by Shion Sono and Yoshiki Takahashi, “Tsumetai nettaigyo,” also known as “Cold Fish,” was an exercise on how a family, through a paternal figure, needed to be shaken up by horrific events in hopes of breaking out of their rut. Mitsuko was a wild teen who didn’t have an ounce of respect for her parents. She beat her stepmother without remorse and considered her father as a joke. Hoping that she’d change for the better, it was no wonder her guardians agreed for Mitsuko, equipped with free room and board, to work for Murata. The father was partly to blame. He was too lenient. If I was a teenager and got caught stealing from a store, my parents would throw a fit. When Murata allowed Mitsuko off the hook, there was not one scene where the father attempted to discuss with his daughter why what she did was unacceptable. We should be disturbed by that lack of proper parenting. The filmmakers made sure that the family drama was deeply rooted in reality before diving into the excess of gore, perversity, and dark comedy. The murders and step-by-step ways to make a person “invisible” didn’t leave much for the imagination. Once the victim had been poisoned, he was taken to a remote location, a shack next to a church, to be chopped into manageable pieces. Red liquid flooded the bathroom floor like sickness, organs were everywhere, and body parts that were still whole glistened in morbidity. However, it was mostly done in a comedic way. For instance, a silly, playful music would play in the background as someone desperately gasped for air. Close-up of the Aiko devoid of reaction, almost somnolent, because she’d seen a man struggle for his life more than she could count. As Syamoto was forced to dispose human meat in the size of chicken nuggets by the river, Murata would enthusiastically say things like, “You’re doing a good job!” and “The fish will be happy!” Shion Sono, the director, paired violence with sex. The physical act meant differently for each character. For instance, Taeko considered it a way to escape her miserable marriage while Aiko held it a symbol for being wanted. I admired “Cold Fish” most because I felt like it wasn’t restrained by anything. It was able to make a statement, with clarity, about how we live and the powerful elements that influence, consciously or otherwise, our decisions. It was a lesson in responsibility.
I Am Guilty (2005)
★ / ★★★★
Armin (Constantin von Jascheroff) had recently graduated from the university. With a competitive job market and his lack of enthusiasm during his interviews, he couldn’t seem to snag a job. His parents’ (Manfred Zapatka, Victoria Trauttmansdorff) insistence that he put in more effort to everything he did didn’t quite sit well with him. As a response, he sent a false confession about a crime he didn’t commit. It seemed as though getting away with it was his biggest accomplishment. Written and directed by Christoph Hochhäusler, I knew the message that the film wanted to relay to its audiences. That is, young adults’ minds are irrational, volatile, and curious. However, it lacked important transitions between scenes. Too often were we left with Armin in his room as he stared at his computer, procrastinating instead of working on job applications. Then it would jump to scenes when he would search for Katja (Nora von Waldstätten), a girl who he considered to be his girlfriend but she thought otherwise. When he did find her, he was at a loss for words. What was the relationship between the two scenes? The formula became almost unbearable to sit through. Since the scenes lacked transition, the rising action felt disconnected and the film lacked tension. The movie was at its most interesting when Armin was being interviewed for a job. His voice sounded apathetic and his body language lacked energy but his responses were unpredictable. There were times when I was impressed that he could think on his feet and sometimes flat-out lie about his experiences. But there were instances when I felt like he was drowning in questions, that his mind needed more time to process the situation and come up with a reasonable response. When Armin was most vulnerable, the picture seemed to wake up from its deep slumber. The parenting was another critical strand in the plot. It was obvious that the fathered preferred Armin’s older brother (Florian Panzner): He played sports, sociable, had a career, and about to start a family. Our protagonist didn’t like to show it but he was sensitive to his father’s expectations. What son isn’t? On the other hand, the mother was lenient. She thought that if Armin tried harder, he would have no problem getting a job. She was in denial. I got the impression that it never occurred to her that her son was simply not ready to have a career that he would have, or was expected to have, for the rest of his life right after graduation. Some people just need a bit more time to figure out who they are and what they want to do. There’s nothing wrong it. “Falscher Bekenner” had some decent ideas about society’s expectations of its young minds that happened to be a little lost. However, it desperately needed to snap out of its insularity and not be ashamed to allow us to feel for its main character’s struggles.