Dark Water (2005)
★★★ / ★★★★
After a divorce, Dahlia (Jennifer Connelly) moved in with Ceci (Ariel Gade), her daughter, into an apartment. The two hoped to start a new life but it proved to be a challenge. Ceci began to make an imaginary friend named Natasha, the same name of a little girl who disappeared from the apartment directly above theirs. On the other hand, Dahlia not only had to deal with abandonment issues from her own mother years prior, but she also had to worry about the increasingly large leak in their bedroom ceiling. The apartment attendant (Pete Postlethwaite) and the realtor (John C. Reilly) wouldn’t take the time to genuinely help her. Over time, Dahlia became in danger of reaching an emotional and psychological breaking point. Based on a novel by Kôji Suzuki and directed by Walter Salles, “Dark Water” was at its best when it explored the bond between a mother and her only daughter. I enjoyed the first few scenes when the mother and daughter evaluated the dilapidated apartment. Ceci insisted that she thought the place was creepy and didn’t want to live there, but it was all the mother could afford. Instead of immediately going for the cheap thrills, the material focused on the family’s sad circumstance. The first sign that there was something wrong was reflected in Ceci’s sudden change of mind after she stared at the dark spot on the ceiling. The supernatural horror was effective because it challenged the mother-daughter bond, the only strand that seemed to keep Dahlia’s mentality in a stable point. What didn’t work for me were the tired dream sequences. There were simply too many of them. In addition, it was easy to determine that we were watching a dream because the scenes had a certain glow. That lack of surprise ultimately worked against the film. The dreams were just an excuse to go overboard with special and visual effects involving water leaking out of the walls. There was nothing scary about it. While water was an important component in solving the mystery that surrounded the missing family upstairs, incorporating water with creepy details, like hair coming out of the bathroom faucet, was more engaging than a dream sequence with gallons of water that threatened to drown the character. However, I admired that the picture eventually focused on the ugliness of Dahlia and Kyle’s (Dougray Scott) divorce. More importantly, I was glad that, despite the former couple’s arguments, there was enough hint that they still cared for each other. It was another layer of reality which made the horrific elements stand out. I feel the need to give credit for Connelly’s strong performance. She made me believe that every stress her character went through was a threat to her or her daughter’s physical well-being. I knew she loved her daughter but I feared the moment when she would finally lose her grip on reality. “Dark Water” was a smart and confident horror film because it stayed away from simplifying its mature template. If only others of its type would follow.
James and the Giant Peach (1996)
★★★ / ★★★★
James (Paul Terry) lived with his egocentric aunts (Joanna Lumley, Miriam Margolyes) ever since his parents died in a car accident. His guardians were very abusive, often sending him off to clean up after them, calling him worthless, teasing him about being an orphan and not having friends, and leaving him off to feed on scraps from the garbage. But when an old man (Pete Postlethwaite) gave James some magical green “crocodile tongues,” the boy’s life had a chance to finally change for the better. But first he had to escape the horrible household, cross the Atlantic Ocean, and make his way to New York City. Adapted from Roald Dahl’s story, “James and the Giant Peach” worked mainly for children but it had enough darkness to keep the older audiences engaged. While the film was full of energy, especially the first-rate stop-motion animation scenes with the eccentric bugs (Susan Sarandon as Miss Spider, David Thewlis as Earthworm, Simon Callow as Grasshopper, Richard Dreyfuss as Centipede, and Jane Leeves as Ms. Ladybug), the scenes when James had to deal with the feelings of abandonment due to the death of his parents and his yearning to be free from an abusive household carried a certain level of gravity. It was touching, sometimes a bit melodramatic, but we could not help but root for James because a child should not had to endure so much. However, admittedly, I enjoyed the picture more when I was a kid. While some of the jokes were still amusing, I wished the story had focused more about James instead of the bugs. After all, it was supposed to be about James learning to make new friends, despite how strange they may have been, after a considerable amount of time in isolation. The stop-motion animation and character development should have formed a kind of synergy instead of one getting in the way of another. Nevertheless, when I look at the big picture and its possible impact on its intended audiences, the movie was enjoyable because its high level of creativity in terms of its visual puns and wordplay. Directed by Henry Selick, “James and the Giant Peach” offered a strange universe with creepy images and eerie atmosphere but it wore its heart on its sleeve so kids should not be disturbed by its darker undertones. Younger kids may question their parents about death but I do not think it is a subject that parents should shy away from because it is a natural part of life. In fact, tackling the subject should further highlight the fact that, like the giant peach, life is indeed quite magical.
The Town (2010)
★★★ / ★★★★
An adaptation of Chuck Hogan’s book “Prince of Thieves,” writer-director Ben Affleck hemled “The Town,” a story about four bank robbers (Affleck, Jeremy Renner, Slaine, Owen Burke) in Charlestown pursued by a determined FBI agent (Jon Hamm). In the opening scene, the four criminals did what they normally didn’t do: take a woman (Rebecca Hall) as a hostage because someone tripped the alarm. Later, in an attempt to ascertain if she knew of their identities, Doug “accidentally” met the woman they took hostage and the two fell in love. I’ve read reviews comparing this film to Michael Mann’s “Heat” and Martin Scorsese’s “The Departed” but I don’t think “The Town” is quite at the caliber of those two. While it did make an entertaining commercial heist film, I didn’t think it was as gritty as it wanted to portray. I wished the material had dug its nails into the characters a lot deeper. By putting more pressure on them, I think it would have been more successful at showing us who these characters really were. I really thought about the importance of character development in this picture because in one of the scenes, Doug and his crew used police uniform as a disguise to successfully steal money for their boss (the fascinatingly menacing Pete Postlethwaite). It meant that cops and criminals were essentially the same, their similarities are (or should be) more pronounced the more we looked into them. But, no matter how hard I tried, that’s not what I saw or felt while watching “The Town.” I thought it spent too much of its time focusing on the romance between Affleck and Hall which I understood as necessary because Doug was the conscience of his crew. In the end, I felt uneasy rooting for Doug because the film tried to sell that he was a good guy when he was really not. There’s a difference between sympathizing with a bad guy and masking the bad guy into a good guy. I believe “The Town” crossed that line. However, I recommend “The Town” because I was always interested in what was happening on screen. Aside from some stupid decisions done by smart characters, such as Doug choosing to be a bystander at a critical time instead of running away as fast as possible, I felt something for each of them. Furthermore, I noticed that the acting was strong and I was surprised with some performances, especially by Blake Lively’s. Despite not having many scenes, whenever she was on screen, I was magnetized toward her and I couldn’t believe she was a glamorous rich girl on “Gossip Girl.” Lastly, the three heist scenes became more exciting as they unfolded. What “The Town” needed was less romanticism because crime is anything but. It would have been nice if it tried to do something different with its subgenre. Instead of sticking out as an example, it simply blends in with the others.
In the Name of the Father (1993)
★★★ / ★★★★
Based on a true story, Daniel Day-Lewis stars as Gerry Colnon, an Irishman who was forced to confess and sentenced to jail for life for the bombing that killed five people in England. If that wasn’t enough, three of his friends, father, and his father’s friends were sentenced to jail as well. Emma Thompson plays the lawyer who struggled to expose the truth regarding the injustice that the British police and detectives have inflicted on the Irishmen. Day-Lewis absolutely blew me away. Despite his actions that involved petty crimes shown in the beginning of the film, I could immediately tell that there was something more interesting underneath his persona. Whenever I looked into his eyes, I felt as thought there was a story, which involved a lot of hurt, that he desperately wanted to cover up. A lot of it came out when he and his father (Pete Postlethwaite) shared a prison cell for the first time; Day-Lewis brought up a lot of things that he thought made him the way he was (mainly experiences from his childhood). That particular scene was so revealing and hurtful at the same time so I couldn’t help but connect with it. Yet despite the anger and outburst, I felt a genuine love between the characters. Jim Sheridan, the director, told the story in such a concise manner so I felt like I wasn’t watching a two-hour-plus film at all. In fact, I wanted to know more about certain details of their ordeal, especially the detective work that Thompson’s character had gone through. With such a complex and compellingly human story like this, it could have easily fallen apart with all the Hollywood banalities. “In the Name of the Father” expertly balanced and eventually fused the political battles and personal demons so it offered a very powerful character study. I also think that this is still a very important film today because the issue of torture for information regarding the war in the Middle East is still not settled. While watching this film, I kept remembering (with utter disbelief) the time when I was still young and had complete trust in the government. The movie makes a thesis that sometimes people of power use the law as a mask in order to fulfill their jobs so they can look good in the eyes of the citizens. However, somewhere along the way, they completely lose track of who they are and how to do their jobs with honor so they start digging their own graves and try to take everyone else with them. This is a beautiful but haunting picture that deserves to be seen by anyone interested in human drama.