★★★★ / ★★★★
Detective Lt. William Somerset (Morgan Freeman) was one week away from retirement when he was thrusted into a case that involved an obese man who seemed as though he ate himself to death. Enter Detective David Mills (Brad Pitt), an ambitious man of the law who was supposed to replace Somerset. In the meantime, the two had to work together in order to catch a killer who was intent on personifying the Seven Deadly Sins. That is, turning each sin against the sinner in grotesque and often very violent ways. Written by Andrew Kevin Walker and directed by David Fincher, “Se7en” was about the two detectives as well as the crimes the killer inflicted on his victims. The contrast between the two detectives went beyond their age and the way they perceived their role in law enforcement. Somerset was the patient intellectual who bothered to read between the lines in search of deeper meaning, while Mills was the mercurial brute arm who had less proclivity toward delayed gratification. As the duo got deeper into the macabre case, we came to observe their strengths and weaknesses as well as learn about their histories. Despite their differences in personality and the way they approached problems, they made a good team. And like all good teams, sometimes they made game-changing mistakes and created repercussions that they just couldn’t walk away from. By allowing us to observe Mills and Somerset as they explored the increasingly cryptic assignment, the film argued that in order for a person to understand evil, one has to be willing to, if necessary, be an agent of the thing he is fighting against in hopes of ultimately overcoming it. Yet nothing was certain and the picture offered no easy answers about motivations, revenge, or redemption. I admired the film’s cold detachment in terms of the details of the crime. I’ve always been a curious person but I couldn’t help but be overwhelmed when Fincher allowed the camera to be as close to the subject as possible. For instance, when the obese man was in the morgue coming off a post-mortem examination, we could clearly see the various discolorations on the man’s skin, every fold of fat and fibrous vein, as well as the points of incision. When such details were so precise that my nervous system couldn’t help but react so strongly, that’s how I know I’m watching a master at work. The picture could easily have been a gimmick about the cardinal sins. But notice that with each passing victim, the camera spent less time on their mutilated bodies. Increasing attention was directed to the two detectives’ varying reactions. Take Mills as an example. He was easy to crack jokes about the corpses. He didn’t do it to be mean or disrespectful. It was his own way of coping with what he just saw so that at the end of the day he would be able to go home and sleep next to his wife (Gwyneth Paltrow). “Se7en” had respect for its complex story and, more importantly, it respected us as an audience. Its willingness to stare into the ugly depths of the psyche as well as the bleak streets and underground alleys of sin made it a harrowing and rewarding experience.
Real Steel (2011)
★★★ / ★★★★
Charlie Kenton (Hugh Jackman) was addicted to robot gambling which was inopportune, in the least, because he was neck-deep in debt. After his robot was demolished by a raging bull, he was informed that his former girlfriend had passed away and his son, Max (Dakota Goyo), needed an official guardian. Charlie was to appear in court to pick up the boy, but Max’ aunt, Debra (Hope Davis), who married a rich man, wanted to adopt him. For a hundred thousand dollars, the gambler made a deal, unbeknownst to Max and Debra, with the husband: Max was to spend time with his father over the summer but he was to be returned in Debra’s care after their trip to Italy. Written by John Gatins, Dan Gilroy, and Jeremy Leven, “Real Steel” managed to be quite involving as it explored the connection between father and son through robot fighting. The picture was smart in first establishing Charlie as our protagonist on the path to self-destruction. He was a good guy, but he often relied on instincts instead of measured calculation to make a quick buck. On the outside, he seemed to do it for the money. He was a former boxer who saw himself as a failure in that field. I looked at him and considered that perhaps he gambled for the rush. Maybe watching his robot fight was like being in the ring himself. As his machines were eradicated, so were his personal connections. Bailey (Evangeline Lilly), his somewhat girlfriend and the daughter of the man who taught him to box, really needed the money that Charlie burrowed to pay for the gym she managed. This made him so desperate, he didn’t even think twice to sell his son. Charlie and Max were quite opposite but the same in important ways. Meeting for the first time, the son suspected that he’d been sold and asked his father if he, in fact, was. Charlie told the boy the truth but Max, plucky and sarcastic, digested the information with dignity and dealt with it on his own. When presented by bad news, neither shriveled; both saw it as a chance to start anew and to prove everybody wrong. That was the reason why I wanted Charlie and Max to succeed as robot gamblers and as father and son. Notice that I haven’t even discussed the robots. That’s because they were secondary to the human drama that propelled the movie forward, yet necessary as a catharsis for these characters. Max stumbled upon a robot named Atom in a junkyard. It was a sparring robot, designed to take a lot of hits but not actually hit back as effectively. With the help of Charlie’s robots, Ambush and Noisy Boy, that had been destroyed, Max was able to extract necessary pieces from them to make Atom stronger in both offense and defense. Eventually, they won enough fights to gain popularity and be invited to World Robot Boxing Tournament in which they had to face Zeus, the undefeated robot champion. Based on “Steel,” a short story by Richard Matheson, “Real Steel,” directed by Shawn Levy, was ultimately a story of redemption. Our decision to emotionally invest in the characters, if one so chooses, was worthwhile because it wasn’t just about metals clanging against each other like in Michael Bay’s egregious “Transformers” movies. There was something real at stake. That is, a father finding his son and recognizing that he was good enough even though he wasn’t perfect.
★★ / ★★★★
Dr. John Halder (Viggo Mortensen), Professor of Literature, was invited by the Nazis to write a paper for them about the ethics and humanity of euthanasia not because he had the proper medical background but because they were impressed with his novel which was based on fiction. Because he wanted to advance his career, he accepted an invitation to become an honorary member of the Nazi party despite the fact that he didn’t believe in their ideals. This caused great tension between the professor and his Jewish friend (Jason Isaacs) who became increasingly desperate to leave the country. Mortensen did a wonderful job portraying a complete coward of a man. He was a classic case of a weak boy so seduced by power, he was willing to change everything he stood for just so he could have a taste of it. I detested his choices. He abandoned his wife (Anastasia Hille) and children for one of his students (Jodie Whittaker), irresponsibly left his mother–who everyone thought was suffering from tuberculosis at the time because Alzheimer’s disease wasn’t yet understood–to live by herself, and lacked a sense of loyalty toward his closest friend. I didn’t necessarily detest the man but I wanted to shake some sense into him. However, I wish C.P. Taylor and John Wrathall, the writers, made a clearer case as to why this man’s story had to be told. Vicente Amorim, the director, wasn’t given much to work with; he certainly tried to paint a portrait of a very confused and misguided man, but his attempt didn’t quite capture the reason what made this man’s story so special. Yes, in crucial times of war, people were often driven to do things they wouldn’t normally do, but I couldn’t help but feel like that should only be the surface. There was a redemption arc toward the end but it felt forced and borderline preachy. As Halder became a bigger part of the Nazi party, he began to have auditory and visual hallucinations about people singing to him. It was a symbol of his guilt, maybe byproducts of the warring levels of his psyche. I wouldn’t have a problem with it if the hallucinations didn’t arrive at the most inopportune times. They broke the tension instead of helping to increase its momentum. “Good” did not need to have a character we could necessarily root for because I knew the filmmakers wanted to create a cautionary tale. A character could be morally compromised yet we could still learn from his or her mistakes. But it needed to have a defined core as to what made Halder’s story unique. Good acting and direction is for naught if basic building blocks are missing. Taylor and Wrathall’s work may have worked as a play but its full power failed to translate on screen.
★★★ / ★★★★
Several people’s lives in a multicultural, post-911 Los Angeles collide in Paul Higgins’ racial issue drama. I distinctly remember watching this movie for the first time back in high school and I was riveted because there was a certain honestly in its portayal of a very diverse community but the people in the community didn’t quite accept each other. Having been raised in a place where diversity was abound, I thought “Crash” was multidimensional and it managed to avoid some traps concerning movies about characters turning out to be connected to each other in several respects. I still don’t believe “Crash” should have won over “Brokeback Mountain” for Best Picture, but the film was solid because it clearly set up an argument. That is, racism is a part of us and just because we project that ugliness to the world from time to time, it doesn’t mean that we are not capable of good or that we or not capable of changing. My main problem with the movie was it had too many characters and not all of them were fully explored. I thought the ones that worked were Sandra Bullock as a politician’s (Brendan Fraser) wife who was traumatized after a night out in the city, Ryan Phillippe as a cop looking for redemption, Matt Dillon as a cop dealing with his father’s health, and Thandie Newton as a Hollywood director’s (Terrence Howard) wife who was disgusted with the way her husband dealt with the situation after she was sexually harrassed. Side stories like Don Cheadle’s strained relationship with his mother and Ludacris running around stealing cars, as good as they were in their roles, weren’t at the same caliber and intensity as the others. Those unnecessary scenes held the movie back in terms of pacing and focus; they just didn’t hold my attention and I found myself standing up and taking a bathroom break during those scenes. Furthermore, I thought the ending didn’t quite stay true to the tone of the picture. I enjoyed that some characters went through drastic changes while others didn’t change at all, but the ending was borderline silly. Instead of pushing me to ponder over the images and the dialogues that I just saw and heard, it took me out of the experience and I felt a bit emotionally cheated. However, “Crash” is one of the better movies about racism because it wasn’t afraid to address certain issues head-on (such as being a light-skinned African-American versus being dark-skinned) and to show that there is more to a person than what comes out from his or her mouth. I suppose with a movie like this that tries to tackle very controversial issues, we always feel like it missed something or that there wasn’t enough deep exploration in terms of character development. But for what it’s worth, I think it managed to be right on target for most of its running time.
Crazy Heart (2009)
★★★ / ★★★★
Based on the novel by Thomas Cobb and directed by Scott Cooper, “Crazy Heart” told the story of a 57-year-old musician named Bad Blake (Jeff Bridges) who traveled from one small town to another to perform songs that people loved back when he was in his prime. Completely trapped in the habit of smoking and alcohol, he slowly began to change his ways after meeting a charming music writer (Maggie Gyllenhaal) and her son. Bad Blake also had to deal with stepping out of the shadow cast by an artist he used to mentor (Colin Farrell), reconnecting with his 28-year-old son and writing new songs so he could stop living from paycheck to paycheck. The thing I liked most about this movie was its simplicity even though it was a double-edged sword. Between scenes with other actors, we got to see Bridges perform with his guitar and bare his soul. While the songs were definitely easy to listen to (and I’m not much of a country fan), I felt that it was meaningful to Bridges’ character because he had a look in his eye that he actually lived through the events that he was singing about. So I thought Bridges did a great job serving as an intermediate between the songs and the character’s life experiences. However, I wished that the film had spent less time building on the romance between Bridges and Gyllenhaal because I felt as though the whole thing became redundant (and sometimes forced). I understood that Gyllenhaal’s character was the key to Bad Blake’s redemption into getting his life back on track but some of the courtship rituals, though it tried to be not as typical as Hollywood movies, still felt typical in an independent movie sort of way. Instead, I felt like the movie would have been stronger if it focused more on the relationship between Bridges and Farrell because they shared a common history. It would have been nice if Farrell’s character had talked about how his mentor was like before becoming a faded musician. When those two interacted with each other, I felt real tension between them; I felt a strange mix of anger, jealousy and respect between the two which culminated when they shared the stage in front of 12,000 people. As I mentioned before, “Crazy Heart” is a simple film so it’s understandable why most people won’t initially recognize why it’s essentially a good film. Yes, it was sometimes predictable because we’ve all seen movies about washed-up musicians before. However, at least for me, with a movie like this, it’s all about the acting and I believe it ultimately all came together because I made a connection with the lead protagonist.
Broken Flowers (2005)
★★ / ★★★★
It all started with a pink letter from an old flame with a message written in red that Don Johnston (Bill Murray) is a father of a nineteen-year-old boy. Don, having been dumped by his most recent girlfriend (Julie Delpy), is serious about finding the mother of his son so he makes a list of his former lovers and visits them across America. I liked the premise of the film but the execution was a bit weak for me. I thought the set-up of the story went for too long: the scenes with Jeffrey Wright as Don’s friend who’s enthusiastic about everything may be amusing once in a while but most of their scenes together did not really contribute to the big picture. When Murray finally met the various women in his life (Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton), the picture only spent about five minutes for the characters to interact. Five minutes would have worked with a more efficient director or writing but this film needed an extra ten or fifteen minutes with each women. It simply wasn’t enough and was somewhat unforgivable because I thought that the movie was supposed to be about a man who realized how much he missed out on these women and why he was now a lonely aging guy with no wife and child. Those intermissions after he met each women which consisted of driving around and sleeping could have instead been used to explore his former relationships and why some of them were very unhappy when they saw him. It was such a shame because the actresses featured are very talented and they really could’ve elevated this film to a new level. Instead, I felt that it was ashamed to explore the underlying emotions and would rather take the route of dry comedy with too many coincidences and potential explanations. Written and directed by Jim Jarmusch, if it weren’t for Murray’s performance, I would’ve been more critical of this film because it was borderline pretentious about the journey of a lonely man. Those little character quirks such as the lead character’s desperation to find anything pink that might give him a clue to who was the one who sent him the letter took me out of the experience. A similar storyline reminded me of Adam Brooks’ “Definitely, Maybe” only that picture was a lot more fun to watch because it had small payoffs throughout even though it was a more typical Hollywood fare. I say see it for Murray because he really does nail characters who says a thousand words with silence and glances. If only the material was able to match his talent.
Kings & Queen (2004)
★★★ / ★★★★
“Rois et reine” or “Kings and Queen” tells the story of a man and a woman who were going through their own problems in life. Initially, the two camps seemed to be unconnected because of their predominantly disparate tones–one comedic and one tragic. Nora (Emmanuelle Devos), who lives with her third husband-to-be, visited her son Elias (Valentin Lelong) and father (Maurice Garrel). After Nora’s father confessed to her that he has been having some stomach problems, she took him to the hospital and found out that he was terminally ill. This caused a great interruption on the life she desperately wanted to believe was going great because she now had to deal with where to put her son because he and the third husband do not get along. She also had to deal with her sister who only used their father for money and what the father really thought of Nora. On the other hand, Ismael (Mathieu Amalric) was sent back to the mental hospital against his will. In there, he found amusing ways to cope such as finding romance and discussing his psychology with a psychiatrist. Although this film was about a many things at once, it impressed me because in a span of about two hours and thirty minutes, it was able to balance comedy and drama throughout. What’s more impressive was Arnaud Desplechin’s, the director, ability to cut to one genre to another when things began to feel suffocating. So, in a way, it worked as two different but good films but the connections that the two had made it that much more enjoyable. Just when I thought everything was going to wrap up in a neat little package when Devos and Amalric finally had a scene together, more problems began to appear because two had a history. Many questions were then brought up such as when one’s responsibility should end when a relationship has been mutually agreed upon as over, whether the mother is doing the right thing by indirectly choosing her third husband over her only child, and the pros and cons of keeping a certain knowledge a secret when the burden is too much to bear. There was a certain organic feel in the film which made me believe that the events portrayed could have happened in real life. I thought one of the strongest scenes in the movie was its ending–the conversation between Amalric and Lelong–because it remained true to itself: with every negative comes a positive (and vice-versa). “Rois et reine” is the perfect film for those who love character studies of individuals who have many imperfections but still have certain reedeming qualities.
London to Brighton (2006)
★★★★ / ★★★★
I love that feeling when I come out of a movie being absolutely blown away because I knew nothing about it prior. Paul Andrew Williams’ directoral debut had a certain quiet power that did not quite let go until the very end. His picture was told in a non-linear fashion which first showed two girls: one about twelve years old (Georgia Groome) and the other middle-aged (Lorraine Stanley). At first, I thought they were sisters but I was surprised to learn later on that they were actually strangers. The audiences knew right away that they were injured and running away from something–the bloody details of from who or what were revealed later. I think it is for the audiences’ best interests not to know much about this movie like I did. Right from the get-go, I wanted the two women to escape to safe havens despite them being very rough around the edges because throughout the film, we get to learn that they are essentially very good people, especially Stanley’s character. Since Groome’s character was a runaway, Stanley became the sister or mother-figure by default because everyone else wanted to harm the little girl or take advantage of her in some way. The way Stanley valued the girl and put the girl in front of herself really touched me because they knew each other in less than a day. Given their dire and downright scary circumstances, I honesly do not know if I would have done the same for someone else. As the picture went on, more and more was asked of Stanley’s character and I constantly had to evaluate what I would have done if I were in her shoes. The supporting characters include Johnny Harris and Nathan Constance, as the two men who were on the hunt for the two leads, and Sam Spruell as a rich guy who wants to collects something that he feels like was owed to him. This is a small picture but the budget did not limit the crafty and touching writing about the two women’s plight by means of losing their innocence and eventual redemption. Their path to freedom was undeniably dark but the challenges they had to face could have potentially taught them to be stronger individuals.
Dead Man Walking (1995)
★★★ / ★★★★
Written and directed by Tim Robbins, “Dead Man Walking” tells the story of a man on death row (Sean Penn) and a nun (Susan Sarandon) who takes his request to be his spiritual advisor despite people’s attempt to dissuade her from doing so. I thought this film was particularly effective because it was able to provide multiple insights regarding the issue of capital punishment, while at the same time I was curious whether or not Penn’s character really did pull the trigger that resulted the death of the two teenagers. Not only that, we really got to know the grief of the teenagers’ parents (Raymond J. Barry, R. Lee Ermey, Celia Weston); that their rage and hatred do not come out of nowhere and that some of them might even be willing to move on. I was really touched by this film in its entirety because I felt like I was watching real people instead of actors merely playing their parts. The interactions between Penn and Sarandon–especially the close-up scenes–got me so involved to the point where I found myself beginning to truly understand the convict’s fear of death even though he is a racist, disagreeable, unfriendly man. Whenever they argued, I felt genuine tension between the two but I still could feel that Penn needed her and Sarandon cared for him. The issue of redemption was also explored. I’m not a big fan of religion but even I have to admit that it was effectively used in this film. Robbins managed to avoid telling a story that was self-righteous and manipulative, which I think was a difficult task because the picture ultimately geared us to sympathize for the convict. As a person who do not support capital punishment, I thought “Dead Man Walking” was able to both entertain and educate (and even enlighten, which is on a different level altogether). This is a strong film with so many layers to it so, naturally, I’m recommending it to anyone–even to those who do not have an opinion about the death penalty.
The Education of Charlie Banks (2007)
★ / ★★★★
Fred Durst directed this movie about a violent teenager (Jason Ritter) who believed that he could change after visiting the college of two of the people who fear him (Jesse Eisenberg and Chris Marquette) ever since childhood. Not only is he violent, he gets into fights for the most stupid reasons and his opponents either end up in critical condition or dead. My main problem with this picture was its tone. It never really got its right footing so the whole movie looked different than what I should be experiencing. Durst had a very contradictory style. Just when you think he’s trying to tell a story about a person who can achieve redemption despite his dark past, he completely switches gears and makes an argument that a broken man will always remain a broken man. By the end of the movie, I felt like I was watching a bad episode of “The O.C.” where all the rich kids get physically harmed in some way. I also didn’t appreciate the way Durst (despite his intentions) glorified violence. What struck me the most was the final scene when something extremely serious was happening on screen yet this peaceful melody was playing on the background. I was slightly disturbed and I felt rotten just watching it. As for the characters, I did not believe for one second that Eisenberg could stand up to Ritter. For me, Eisenberg’s character started off as a little mouse and he ended up like one. The absence of evolution in the characters left me asking what the point was of the whole experience. The only person I enjoyed watching was Sebastian Stan (“The Covenant,” “Gossip Girl”) because I completely believed that he was this rich kid who doesn’t care about his education and goes off buying things he doesn’t need for the hell of it. Most of the time, I wished the story was about him instead of the other so-called main characters. I say skip “The Education of Charlie Banks” because nothing quite holds up.
The Tale of Despereaux (2008)
★★★ / ★★★★
A lot of people were disappointed by this animated flick but I must say that I enjoyed it. It may not be as intelligently written or have as deep a story as most Pixar films bit it had enough heart to keep me interested from beginning to end. Matthew Broderick lends his voice as Despereaux, a mouse of small stature with big eyes, big ears and a strong sense of smell. He’s not like any other mouse because he doesn’t know how to be scared of certain things like a typical mouse should. In fact, he thrives on the excitement of acquiring cheese from mousetraps and reading books instead of eating them. I thought the first part of the film was fascinating in a psychological point of view because Despereaux, a youngster mouse, is encouraged to be scared of pretty much everything. Even though he is a mouse, he describes himself as a gentleman who is brave and honorable. The joke/reverse psychology works in its own universe and as a lesson for younger viewers. However, what did not work as well for me was Roscuro (voiced by Dustin Hoffman) and Miggery Sow (voiced by Tracey Ullman). Roscuro accidentally “killed” the queen (via drowning in soup or a heart attack?) which drives the king to banish rats out of the kingdom as well as cooking soup, which is the kingdom’s source of happiness. As the kingdom plunges into a depression, Roscuro feels extreme guilt and, like Despereaux, he feels like an outcast and seeks redemption. The third outcast is Miggery Sow who I initially thought had some sort of a mental disorder but, with a little bit of psychoanalysis, I eventually came to a conclusion that she wants to be treated like a princess (instead of actually being one as she portrayed) because she wasn’t loved as a child. Although her character wasn’t as developed as I wanted it to be, what I liked about her part of the story was that it was open to interpretation. I thought it was weird how Roscuro and Miggery Sow, one way or another, become a villain and I wasn’t sure of the filmmakers wanted the audiences to think that. This is one of those films that could’ve benefited more if it had a longer running time. It tried to tackle three main characters but it wasn’t successful because the last two I mentioned weren’t explored enough. Other notable voices include Emma Watson, Kevin Kline, William H. Macy, Stanley Tucci, Frank Langella, Richard Jenkins and Christopher Lloyd. Based on Kate DiCamillo’s books, “The Tale of Despereaux” may not have been a critical success but the animation is impressive and it has enough implications for the older audiences if one were to look closely.
Save Me (2007)
★★ / ★★★★
Coming into this film, I knew that there was no chance in hell that I was going to change my mind about these so-called institutions that aim to “correct” people’s homosexuality. I’ve had friends that were sent to these morbid places and I can attest that they do not work. Correcting homosexuality is like trying to will your body to not to respond to pain when you touch an extremely hot surface; nature is not something that you can simply “correct” no matter how hard you pray. It took me a while to get used to this picture because the first few scenes show gay people only in a negative light–that they’re all about sex with no strings attached and hard drugs. Eventually, though, we see characters that are complex and worthy of screen time so I somewhat forgave that distasteful first few minutes. Chad Allen and Robert Gant may not have that much of a chemistry, but they tackled their characters with enough dignity to the point where I was interested in their own personal battles instead of the forces that keep them together. One of those forces is Judith Light as one of the leaders of the ministry. Even though I thought her character was never someone that I would ever get along with, I still felt sorry for her because she desperately wants redemption for the way she treated her son after he told her that he was gay. Since her son died in his teens, she tries to find a way to forgive herself by taking in homosexuals and “correcting” their proclivities. I thought Light was the best thing about this flawed film mainly because of her acting. I thought it was true to life how she’s friendly and approachable when she’s around other people but judgemental (not to mention extremely homophobic) when she’s alone with her husband. For a character that I can immediately dislike, Light was able to get me to care for her even just a bit. I think this film would’ve been stronger if the romance aspect was completely written off. The topic of redemption was not really at the focus most of the time because the movie had to spend time shaping Allen and Gant’s relationship. For a subject this controversial, you don’t need a romance angle for people to find it interesting. Whether one supports homosexuality or not, one will have something to say after watching this film.
★★★★ / ★★★★
I found this film to be thoroughly engaging from beginning to end because, despite the roughness and violence presented on the outside, the core is very sensitive but nothing is glamorized. Presley Chweneyagae is excellent as the lead because he’s convincing as a gang leader and a person who happens to have a broken soul because of his childhood. We see his character change in myriads of ways but each of those changes are subtle enough to leave a lasting impression. My favorite scene was when Chweneyagae was able to connect the old man on the wheelchair to a dog with a broken back. That scene was so powerful because there are a lot of muffled emotions and unsaid thoughts yet I couldn’t help but feel like everything is being revealed. I do not consider this a typical journey of a man becoming a “better person” by the end of the picture. Instead of taking a literal journey to exotic places, the main character was able to find self-respect, honor, and the ability to love in the place where he lived pretty much his whole life. With the help of the baby that he accidentally took while hijacking a car–seeing himself in that child while at the same time reminding him that the child is everything that he is not–he began a transformation that ultimately warrants his redemption. I’m glad the Academy recognized this as the Best Foreign Language Film of 2006. I will remember this film for a very long time.
Boy A (2007)
★★★ / ★★★★
Originally a novel written by Jonathan Trigell, this feature film directed by John Crowley is ultimately about about rehabilitation and redemption. Even though it’s more focused on the rehabilitation outside of a facility, I think it’s more interesting because it also manages to tackle the philosophical question of others’ knowledge (and lack thereof) of a particular event in one’s life–how that knowledge can change the way they think and act around the person of controversy. Andrew Garfield does an amazing job as Jack Burridge who was sentenced to jail as a child because of a murder he committed. With the help of Peter Mullan’s character who is like a father figure to Jack, Jack is given the chance to reintegrate into a society that he left (or of which that left him?). Garfield, within the first five minutes, proved to me that he truly regrets the past and wants to lead a normal life again. He has that childlike quality that is extremely charming, but at the same time there are moments in the film that shows the audience that the evil inside him–which most likely resides within us as well–is not fully expunged despite his best efforts. Garfield gives us a really complex character study; how a person that is continually challenged and reminded of his past reaches some sort of breaking point even though many things are seemingly going in the right direction. Another stand-out performance is from Katie Lyons as Garfield’s girlfriend. She’s strong and spunky, determined and a bit over-the-top–which is a perfect fit for Garfield because he tries to dim his light since he doesn’t want to get much (positive and negative) attention from people. Some of the highlights in the film include Garfield’s dance when he was under the influence of ecstasy (I thought that was kind sexy), Garfield and Lyons’ intimate conversations, and the final scene. The last scene blew me away because it was so powerful when it comes to engaging the audience. The film’s strength and downfall were the flashback scenes. Even though those scenes are necessary to explain what happened in the past and they were placed in the right moments in the film, the flashbacks brought up new questions that weren’t really answered in the end. Perhaps if one read the novel, the answers would be clearer but those that did not might be a bit confused. Still, this is a very good movie that gathers momentum as it goes on and doesn’t break its spell until after the exemplary last scene. This is a thinking person’s movie because it essentially comments on (and even questions) human psychology. It is also the kind of film that ignites discussion.