Nights and Weekends (2008)
★★★ / ★★★★
Mattie (Greta Gerwig) and James (Joe Swanberg) were in a long-distance relationship. Mattie resided in New York while James lived in Chicago. They tried to visit each other once in a while but there was a limit to how much effort they could put into their relationship when distance was clearly an issue. Written and directed by the two leads, “Nights and Weekends” had an excellent first half but fairly weak second half. The first half focused on the romance between James and Mattie. We learned things about them which ranged from the impersonal, like their jobs and the careers they would like to have, to more important details such as whether they would be happy if they turned out like their parents. We got a feel of their personalities. James was patient, a bit of a hopeless romantic, and he didn’t see himself as physically attractive but that didn’t stop him from projecting confidence to the world because he had a mental picture of a more attractive version of himself. Meanwhile, Mattie was adorable but a bit needy. Unlike James, she was more than willing to voice out what she thought was disgusting like when her boyfriend ate the dark brown area of a banana. When she was annoyed, she expressed it. For instance, she didn’t like the fact that she was left in the hall for ten measly minutes because James had to drop something off at work. Yet she was the one who didn’t want to meet his co-workers because she thought it might be awkward. Strangely enough, which is uncommon when it comes to romantic dramas, I related more with the male. Nevertheless, I wanted to see their relationship succeed because, despite the occasional tension between them, they were a very good fit for each other. But then there was a jump forward in time. Everything felt awkward. The tone it established prior was thrown out the window. It was unclear whether Mattie and James were even in a relationship. There was even a heavy-handed metaphor that involved Mattie trying to water plants, a symbol of her attempt to sustain their so-called relationship, but the plants wouldn’t absorb the water. I wondered what happened to the film’s naturalistic approach, something I found very charming and interesting, like the directors’ brazen decision to not reshoot when the actors stumbled over their lines. I liked the picture most when it captured real life. Sometimes our tongues just can’t keep up with our thoughts and we’re embarrassed in the fact that we’re not as eloquent as we would like especially when we’re trying to get a point across. But we continue and pretend that we didn’t make a blunder. I craved the realism it effortlessly seemed to have. Ultimately, the positive outweighed the negative. I admired that the film allowed its characters, in their twenties, to be immature, sometimes shallow, and consumed by their neuroses. The relationship didn’t have to be particularly meaningful or special because Mattie and James were still searching for who they were.
★★ / ★★★★
Eddie (Kellan Lutz) and Shane (Jonathan Tucker) broke into a house they thought was empty and murdered a child in the process. Detectives Noah Cordin (Nick Stahl) and Leslie Spencer (Rachel Nichols), equally determined, were assigned to catch the criminals. As they got deeper into the investigation, Noah started to realize that the persons involved in the murder might be from the small town he grew up in. “Meskada,” written and directed by Josh Sternfeld, was a realistic look on how cops might possibly solve a case. Despite the fact that a child being killed was no small matter, the director made a smart decision not to feature any grand overtures to convince us how important it was. Seeing an innocent and lifeless child on the ground was enough to get our attention and hope that Noah and Leslie were successful in their mission. We saw them unglamorously go through trash in search of evidence, feel frustration because they had no lead, and try to balance the peace when economics and politics came into play. The story was interesting because the cops weren’t just up against criminals. They were up against people who were willing to protect their family, friends, livelihoods, and community. They were also up against themselves as they struggled to weigh short-term and long-term rewards. Sometimes they didn’t always make the smartest and most ethical decisions. For that reason, I also admired that the picture didn’t always offer easy answers. After all, a case being closed isn’t always synonymous with a case being solved. However, what the film needed was more details about the characters, particularly the ones who committed the crime. Shane and Eddie coming from a poor background wasn’t enough to explain why they were desperate enough to steal. Others from their hometown were just as destitute but they didn’t commit robbery. In fact, most of them decided to work together so that a company would eventually decide to build a factory in their town. There had to be something different about Shane and Eddie that made them feel like they had no other choice. Perhaps it was in the way they processed and translated challenges that faced them. We couldn’t be sure exactly because they didn’t share enough scenes together. We weren’t given enough time, unlike with Noah and Leslie, to ascertain the dynamics of their ultimately toxic partnership. Nevertheless, I liked the ambition that “Meskada” proudly wore on its sleeve. It was absent of gimmicks in terms of storytelling but it managed to inject complexity by exploring real human emotions, psychology and error.
Great World of Sound (2007)
★★★ / ★★★★
Martin (Pat Healy) answered an ad for a small record company, known as Great World of Sound, and was hired to become a record producer. He loved his job because he was passionate about music and he believed in giving talented artists a chance to make it big in the music industry. He was paired up with Clarence (Kene Holliday) who was as equally enthusiastic to sign new artists. But the more time they spent in their new position, they began to feel a gnawing suspicion toward their superiors’ (John Baker and Michael Harding) true intentions. Astutely written by Craig Zobel and George Smith, “Great World of Sound” was a fiercely honest look at the relationship between people who wanted to turn their talent for music into fame and fortune and the so-called businesses designed to help get their names out in the world. The auditions that Martin and Clarence sat through in their motel rooms was like watching the audition week of “American Idol” only thrice the realism. It was funny because most of the artists were convinced they were really good when they actually weren’t; it was touching because a handful of them came from extraordinarily difficult backgrounds; and it was sad because the prospective musicians were being tricked into paying money (for a “producing fee”) for a dream that could never be attained through this specific path. Despite the fact that we spent only a minute, sometimes less, with the artists, we couldn’t help but care for them in some way. I loved the fact that the artists looked like people one could see walking down the street in any small town or city. With Zobel’s confident direction, we could feel the artists’ desperation for wanting to get discovered and finally making it big. Martin and Clarence were complex characters, not necessarily worth rooting for because, initially and unbeknownst to them, it was their job to steal from people, but because we wanted them to do the right thing. We weren’t always sure if they were going to. Martin was a dreamer. He loved the idea of his job but actually doing it was an entirely alien sphere. With each “like” between words and awkward random pauses, we could feel that he was uncomfortable with his job. But he felt that he needed to stick with it because he and his girlfriend (Rebecca Mader), also an artist, had bills to pay. Financial issues also plagued Clarence because had children to support. His speech about fairness and doing what was right was inspired, true, and heartbreaking. In a span of a minute, he revealed who he was and how he became such a fighter. “Great World of Sound” was a splendid independent film. It was successful in establishing an argument about the American Dream simply being a carrot dangled in front of us, forever out of reach.
Day of the Woman (1978)
★★★ / ★★★★
An aspiring writer (Camille Keaton) decided to live in a secluded cabin in a small town during the summer to work on her first novel. At first it seemed like a nice place because the people (Richard Pace, Anthony Nichols, Eron Tabor, Gunter Kleeman) she met were friendly but those were the very same sick-minded individuals who eventually tortured and gang-raped her multiple times. This exploitation flick was definitely unsettling to watch because of its extended realistic violence. However, I thought there was a certain lyricism with its lack of soundtrack and periods of time when the characters did not particularly do anything interesting. It gave me the feeling that the events that I saw could have happened and can still happen to anybody which made it that much more chilling. While the rape scenes were indeed shocking and painful to watch, I liked the way the female lead took her time to systematically plot her bloody revenge. Although the things that were unfolding were dead serious, there was a certain cheekiness and dark humor with the way Keaton used her feminine wiles to lure the men who did her wrong and to push them to their grizzly demise. The second half was stronger not just because of the revenge scenes but also due to one of the characters explaining why they decided to rape her. Of course, the classic argument of a woman “asking for it” was brought up. There was also an interesting metaphor about catching fish and getting a woman. That relationship was compelling to me because the men treated her exactly like an animal. Perhaps worse. Many elements came together in the second half that took me by surprise because, to be honest, I did not expect the material to have much insight or intelligence due to my prior experiences with exploitation movies. I was happy that it defied my expectations. It would have been easier for the picture to rely on the obviousness of the images but it had a surprising amount of subtlety. In the end, I was convinced that writer and director Meir Zarchi successfully made a feminist film. I thought it was funny that the women in the movie were portrayed as smart and strong but the men were idiots and lacked goals. “Day of the Woman” also known as “I Spit on Your Grave” had risen beyond the sadistic and the ugly and actively confronted issues such as blame, responsibility, and entitlement.
★★★ / ★★★★
Written and directed by Barry Levinson, “Diner” was about a group of friends verging on adulthood who constantly tried to find a distinction between marriage and being in love with a woman. I adored this film greatly because I felt like the guys were the kind of people I could talk to. Even though they were silly and talked about the most unimportant things, they were very entertaining and each had a distinct personality. Eddie (Steve Guttenberg) was about to get married, Boogie (Mickey Rourke–who I did not recognize at all) was a womanizer, Modell (Paul Reiser) got on everyone’s nerves, Tim (Kevin Bacon) had issues with his brother, and Shrevie (Daniel Stern) was addicted to music. But my favorite was Billy (Tim Daly), Eddie’s best man, because he was the most mysterious of the group. His interactions with Eddie had a certain feeling of sensitivity to it; the look he portrayed in his eyes made me think that he harbored a secret and I desperately wanted to know what it was. While they all had separate personalities, I liked that Levinson surprised us somewhere in the middle. The picture seemed to have flipped itself inside out and showcased something unexpected about them. For instance, Tim turned out to be someone who was genuinely intelligent despite his sometimes unwise decisions. The biggest strength and weakness of this film was its many colorful characters. Since there were so many of them, I was never bored because it jumped from one perspective to another with relative ease. But at the same time, I wished it had less characters so it could have had the chance to dig deeper within the characters’ psychologies. Nevertheless, “Diner” was very funny because the guys had chemistry. Their interactions made me think of nights when my friends and I would hang out at Denny’s, talk about the most random things, tease each other, and eat until it was either difficult for us to breathe or our mouths were simply exhausted from talking. So I felt like the movie really captured how it was like to be considered as an adult (over eighteen) but not quite reach the maturity level of a real adult. “Diner” is a deftly crafted picture with intelligence despite the dirty jokes, characters who are easy to identify with and a script that flows and sounds natural. I always feel the need to say that a movie may not be for everyone only because the movie is heavy on dialogue. But I think this film is an exception because it knows how to have fun but remain honest so the audiences can feel like they’re part of the inner circle instead of simply eavesdropping from another table.
Kicking and Screaming (1995)
★★★ / ★★★★
Four friends (Josh Hamilton, Carlos Jacott, Chris Eigeman, Jason Wiles) decided to move in together after graduation. The thing was, they still lived very close to campus because they couldn’t quite let go of college and they still weren’t ready to face the “real world” for various reasons. What I appreciated most about this film was its honesty. Although it had many quotable one-liners and very funny dry humor, all of it almost always felt secondary so it didn’t feel gimmicky. It felt modern but realistic. The core of the movie was always at the forefront: the four friends feeling lost and the way they tried to deal with the pressures of essentially getting stuck at a specific point in their lives. I liked the fact that the four characters were smart and had potential to be great yet they found themselves hanging out in the same places and having the same kinds of conversations about literature and pop culture. This was highlighted by a girl always telling them that they talked the same. There was a certain sadness about it all because the characters constantly avoided the main issue of lacking the motivation to pursue their potential. Instead, they distracted themselves by magnifying every small problem to instill some sort of meaning in their lives. Another element I thought was interesting was Eric Stoltz who played a tenth-year student. The four characters recognized that they didn’t want to end up like him yet time and again they made decisions that would most likely lead them in the same path. “Kicking and Screaming,” written and directed by Noah Baumbach, is a story of postcollege angst for astute individuals who are willing to look past the surface and extract meaning from certain glances and dialogues. I read a review stating that this movie was simply a series of random scenes of twenty-two-year-olds being lazy and it didn’t come together in the end. I disagree in some ways. While it did feature random scenes that didn’t add up to anything, I think those scenes reflected the characters’ inner turmoil of not knowing what to do with their lives. After an expensive education, everyone sort of expected them to do something meaningful. Because of the paralyzing fear of living up to people’s expectations, they became stuck; each day blended against the other and the fact that they did the same thing every day didn’t help their situation. As for the way the picture ended, I thought it was borderline great. There was something heartbreaking about that scene in the airport yet something so sweet about the Hamilton’s conversation with the girl who liked to give people money if she believed she wasted their time. “Kicking and Screaming” is not for everyone because it’s heavy on dialogue and Baumbach lets the audiences derive meaning from it instead of spoon-feeding us what to think and feel.
La haine (1995)
★★★ / ★★★★
“La haine” stars Vincent Cassel, Hubert Koundé, Saïd Taghmaoui as a Jew, an African and an Arab, respectively, who come from the nonglamorous side of Parisian neighborhood. The premise of the film was essentially following the three characters in a span of a day–after a riot in which one of their friends was sent to the hospital–so we could see how they juggled the internal and external violence that faced them. I was impressed with this film because it dealt with the characters in painfully realistic ways without being too heavy-handed or a stereotypical “being in one’s shoes for a day” story. The three friends were so angry to the point where they couldn’t help but stir trouble wherever they ended up. Their personalities were explosive and unpredictable but just when we thought we had them all figured out, the material surprised us. It then begged the question of whether they could rise above the place where they came from; I could see that they wanted to change and that they were tired of having to be (or trying to be) tough all the time. It was the subtle scenes in which the characters expressed their concerns and sadness about where their lives were heading that gripped me until the very intense and memorable final scene. Even though there were a lot of meaningless fights and funny scenes at someone’s expense, I enjoyed the quiet moments when they would just sit on the train and not talk to each other or when they would just visit an empty shopping mall in the middle of the night. As alienated as they were, their frustrations didn’t hinder them from trying to live even if the paths they’ve chosen were roads that we necessarily would not want for them to take. Written and directed by Mathieu Kassovitz, he really had a knack for playing with the camera and delivering unique shots when something crucial was unfolding before our (and the characters’) eyes. He wasn’t afraid to take some risks and they paid off handsomely; the decision to shoot the film in simple black and white complemented the complex social problems (that we sometimes see in black and white) that the picture tackled head-on. Ultimately a movie about acceptance and corruption, “La haine,” also known as “Hate,” showed that a material does not need to be obvious or touching for it to teach a lesson about urban life. In some ways, the tone and focus somewhat reminded me of the unforgettable “Trainspotting,” only “La haine” was far less manic and more serious in its approach.
Real Women Have Curves (2002)
★★★ / ★★★★
“Real Women Have Curves,” directed by Patricia Cardoso, was about a smart Mexican-American teenager (America Ferrera) who wanted to go live her life by seeing the world and getting the best education she can but couldn’t because her family and the family business needed her at home. I thought this movie was very accurate in portraying a person who was capable of so much but was often limited by family responsibilities. I knew people like Ferrera’s character back in high school and I think this movie was great at showcasing someone who was torn between what a teenager wanted to accomplish and what a teenager expected to accomplish. One of the main driving forces of the film was Ferrera’s relationship with her mother (Lupe Ontiveros) who was as dramatic as the characters she watched in her soap operas–which made me laugh because she reminded me of my mom and her Filipino soap operas–and her extremely hardworking sister (Ingrid Oliu) with a surprising amount of depth and heart. The way the three women interacted with each other was fascinating because although their interests often collided, there was a certain level of respect and love that was always present. I also found Ferrera’s connection with her teacher (George Lopez), who pushed her to apply to Columbia University, and a romantic interest (Brian Sites) interesting but they were a bit underdeveloped. With a running time of less than an hour and thirty minutes, that was expected but the picture would have been stronger if those elements were fully realized. After all, as much as the movie was about family, it was also about Ferrera’s struggle to want to reach outside of her community. I found it easy to relate with this movie because I also wanted to see things outside of my Filipino community back when I recently immigrated to America when I was eleven. Although my parents were not strict about sticking to our roots, there were some little things that caused tension between us that were directly related to our culture. I was impressed with “Real Women Have Curves” because it was a solid coming-of-age story that seemed to tackle multiple subjects at once including important issues like body image and self-esteem. There was a hilarious scene in the sewing shop that involved women comparing the amount of fat they had in their bodies. That dose of reality was refreshing to see especially when teen movies nowadays always feature teenage characters who are built and/or skinny but are not at all smart and/or sensitive. And if they were portrayed as smart and/or sensitive, most movies directed for teens felt forced and superficial. But in this picture, it felt genuine and that much more powerful.
★★★★ / ★★★★
Written and directed by Lance Hammer, “Ballast” was a powerful film about how three people who lived in Mississippi Delta began working toward a better future after a suicide. Lawrence (Micheal J. Smith Sr.) tried to kill himself after finding out about the death of his twin brother but a neighbor (Johnny McPhail) arrived just in time to call for help. Marlee (Tarra Riggs) was a hardworking mother who desperately wanted to provide for her son James (JimMyron Ross), unaware of his involvement in violence and drugs. As the film went on, Lawrence, Marlee and James had no choice but to be a family and help each other to move forward. I loved the bare bones look of this film because it really got me in the mood to look inside the characters–their motivations, feelings, thoughts and plans for the future. What’s brilliant about this picture is the fact that it’s not just about poor people being poor people and therefore we can’t help but feel sorry for them. It’s about people in poverty who constantly try to provide for themselves even though all hope seems absent. We also got to learn about a certain character’s history with drugs, why Lawrence and Marlee didn’t get along, and why Lawrence was very understanding with James. Even though the movie did not have any soundtrack and had minimal dialogue, when the characters did engage in conversation, the words struck me. I especially was touched by that scene when the mother got fired from her job because of the bruises on her face (and she didn’t have any more sick days so she could take a day off). She said that her appreance shouldn’t matter anyway because she was invisible to everyone else. She had such strength throughout and I couldn’t help but root for her. I’ve heard from people that they were frustrated with the abrupt ending. I had no problem with it at all because it implied that no matter what challenges faced the main characters, they would find a way to overcome them. For me, the picture ended at just the right moment. “Ballast” shows how powerful independent cinema can be. This is not for viewers expecting fast pacing, a defined story structure, or any of the Hollywood conventions. This film is all about the nuances and it was pretty much observing the painful realities that others have to go through from day to day.
★★★ / ★★★★
A lonely man with Asperger’s syndrome (Hugh Dancy) who recently lost his father found real connection with a teacher named Beth (Rose Byrne) who recently moved into his apartment building. What I loved about this picture was its ability to show the sometimes comical awkwardness of a character who happens to have Asperger’s but still remain sensitive and accurate throughout. With movies that have such sensitive topics, it’s easy to make fun of the person with a condition to get the laughs. In here, his awkwardness was matched with his romatic interest’s because there were times when she, too, did not know what to say or do. I enjoyed the romance angle of this film but what did not work for me as well was the bit about Peter Gallagher’s character being in court. I thought those scenes dragged a bit. Its connection to Adam’s life was not strong enough except for the fact that Beth and her father were often at odds. Still, I’m giving this movie a recommendation because, from what I learned in school and the reviews I read written by Aspies, it was true to life; how their limited social abilities impact a huge portion of their lives such as making friends, finding the right person they want to spend the rest of their life with, being interviewed for a job or making small talk with strangers. The best scenes are those with Dancy and Byrne being in the same room and trying to connect. At times they may have a wall around themselves but when they do decide to let each other in and really talk about what they’re thinking and try to communicate what it is they want, there’s magic and it works as a love story. And there were just times when Adam found it difficult to be in Beth’s shoes or when he took things too literally. Written and directed by Max Mayer, “Adam” was able to successfully show how it was like for a person who could not express himself the way he wanted to to still find acceptance from others as well as himself. There’s a common mindset that people with autism are all the same, they’re all dumb and are less successful than “normal” people. This picture touched on those three mindsets to show that quite the opposite is true. I was very satisfied with the ending because it was realistic but it wasn’t sappy or heavy-handed. The implications it had were quite touching.
Another Day in Paradise (1998)
★★ / ★★★★
I like Larry Clark’s movies (“Kids,” “Bully,” “Wassup Rockers”) because each one has some sort of lesson in them. But the characters learn (or don’t learn) such lessons in many gritty and very realistic, if not all too painful, ways. I had a difficult time watching “Another Day in Paradise” because it did not start off well. The story was about how two criminals (James Woods and Melanie Griffith)–kind of like Bonnie and Clyde–took two juvenile delinquents (Vincent Kartheiser and Natasha Gregson Wagner) under their wing. One could tell that despite how they seemed to mesh well on the outside, something was about to go wrong because each character was driven by his or her own end game or naïveté. I kept waiting for the point of the story where everything suddenly changed but it didn’t quite deliver until the last twenty to twenty-five minutes. The last section of this movie was so powerful, I considered giving this film three stars. There was something about it was so sad and so haunting to the point where it really made me think about the characters and the choices they’ve made that got them into such an irrevocable mess. Such scenes reminded me why I loved Clark’s pictures in the first place because the message had a voice but it was still able to be quite poetic, which reminded me of some of Gus Van Sant’s strongest movies. Even though the movie did look small and was quite rough around the edges, the acting is top-notch especially from the young Vincent Kartheiser. I’ve seen him on the “Buffy the Vampire Slayer” spin-off called “Angel” and thought he was just fine there, but I didn’t think he would be able to deliver such gravity and emotional power as he did here. If the first hour of the film only focused on the more human and sensitive aspect of the story instead of showing the characters stealing, doing drugs, and risking the lives they obviously don’t value, maybe “Another Day in Paradise” would have been much stronger. In my opinion, there were way too many scenes that featured self-descructive behavior to the point where I got sick of it and just wanted to pay attention to something else. With a little bit more work in the editing room and reshooting some scenes, this would have been a hit for me.
★★★★ / ★★★★
Students with talent when it comes to acting, singing, dancing and playing music were accepted in New York City’s High School for the Performing Arts and those who lack such talents were rejected. The very intense audition process was only the first scene and it really showed me that “Fame,” directed by Alan Parker, was going to be a very different musical compared to the ones that have been released in the 2000s. Throughout the film, it had a certain seriousness to it. It started off showcasing naive characters who want to “make it big” but as years went on, some of them made it while the others’ dreams were crushed because they either succumbed to the pressure or they simply didn’t have that extra “thing” to make them stand out. Some of the students that the film focused on were Irene Cara (who wanted to be a singer), Maureen Teefy (who wanted to act), Barry Miller (who wanted to follow Freddie Prinze’ footsteps), and Lee Curreri (who wanted to make and play music that was different and progressive). Throughout the film’s 130-minute running time, the spotlight was eventually under each of their respective struggles and we get some ideas on what made them the way they were. I also liked the fact that none of the actors looked like typical actors or had features that most would deem “beautiful.” In fact, all of them looked kind of geeky or nerdy so that spice of realism really helped the picture to become more than another forgettable musical. As four years went by, the characters matured (while some were fixated) in both overt and subtle ways and their problems had more gravity. Granted, the pacing became a little slow (and somewhat depressing) toward the end but I was more than willing to forgive that flaw because there were a plethora of memorable scenes and fun dance sequences. I wish that Cara had more scenes, however, because I really did love her songs. I wished that the film showed more of what personal events and experiences inspired her to write. This movie’s remake is to be released this year (2009) and I can only hope that it is able to retain some edginess and realism that this one had. I also hope that the remake would not lose sight on this picture’s theses–that talent is a good template but far from enough to be successful; and those who attain fame are not necessarily safe because it’s a constant challenge to rise above the pressures. The movie’s ability to take the audiences back to the 1970s was a bonus.
Sin Nombre (2009)
★★ / ★★★★
The debut of writer-director Cary Fukunaga was loved by critics and audiences alike, but I was not that impressed with it. “Sin Nombre” was about two groups of people–one from Honduras and one from Mexico–who take a train headed to the border of United States and Mexico. The first group was Sayra (Paulina Gaitan) and her family who attempt to move to America to lead a better life. The other was Casper (Edgar Flores) who was being hunted down by Mara Salvatrucha, a gang he was once a part of, because he committed a crime against them. While I do agree that the film was protrayed in a gritty and realistic way, I found it difficult to identify with the main characters. I felt as though they had this wall that lasted from the beginning of the picture all the way to finish line. I understand that their journey on the train was literal and symbolic but I had trouble sticking with it because of that lack of connection between the characters and the characters to its audiences. I felt as though their situation or story was told in a much better way from other films. If Fukunaga had taken the time to cut off some scenes from the first twenty minutes and expand on the scenes when Sayra and Casper were interacting with each other, it might have had something brilliant to offer. Instead, I felt as though the experience can be summarized as merely glossing over the shell of characters who were going through very difficult times without truly getting into why they were complex. Their motivations were apparent (survival and a better life) but the filmmakers failed to take the story to another level. I noticed that the director tried to inject contrasting images and concepts but those weren’t enough to make up for a lack of a strong core. I had high expectations coming into this film and I couldn’t help but feel more and more disappointed as the fate of the characters began to unfold.
★★★ / ★★★★
Tilda Swinton stars as the title character who is an irresponsible alcoholic and liar who one day agrees to kidnap a kid (Aidan Gould) after the mother (Kate del Castillo) claims that she wants to rescue him from the multimillionaire grandfather. I understand that this can be a difficult film to swallow because of its two hours and twenty minutes running time. Although even I have to admit that it did drag during some parts, I thought that showing Julia’s journey from deep trouble to really, really deep trouble was fascinating in its own strange way. Another reason is that this is primarily a character-driven picture where we see Swinton’s character evolve in subtle ways from beginning to end. I definitely did not expect this film to be so visceral. I thought I was going to see a movie about a woman who was way out of her league as she tries to fight off henchmen and ultimately achieve redemption. I was so wrong because the main character did not want to change, unapologetically lewd and racist. There were times when I thought she really should stop lying to herself (and to others) and admit that she had a problem and that she needed help. But then there were also times when I was glad she was a great liar because her lies sometimes got her out of very complicated (and scary) situations. Without Swinton’s charisma and great timing, I think this film would have essentially fallen apart. Even though the lead character had the negative qualites mentioned prior, I still wanted her to succeed in her plight. In the end, even though she was not the character who appreciated other people’s pity, that’s exactly how I felt toward her. I got the feeling that she was not happy with her life and she ultimately wanted escape because it was too late to turn her life around. I’m giving “Julia” a strong recommendation because it very realistically portrayed people who were drowning in their own desperation. Other people may not agree but I think this film is a diamond in the rough.