Guy and Madeline on a Park Bench (2009)
★★★ / ★★★★
Guy (Jason Palmer) and Madeline (Desiree Garcia) broke up on a park bench. A week earlier, we learned that the reason for their break-up was because Guy had relations with Elena (Sandha Khin), a free-spirited girl who enjoyed every small thing life offered, like a street performance or sharing knowing glances with strangers on the subway. But Elena lacked one quality that Guy saw in Madeline. Elena wasn’t as interested in music which was important to Guy because he was a professional trumpet player. Written and directed by Damien Chazelle, “Guy and Madeline on a Park Bench” contained some catchy musical numbers that brought a smile on my face. When Madeline and her co-workers began to sing and tap-dance in the restaurant, I almost wanted to join them because it looked like they were having so much fun. It didn’t matter that the choreography wasn’t perfectly executed or that the voices weren’t especially great. It was really more about being in a moment and absorbing and appreciating each other’s joy. But there was sadness in it, too. The picture followed Madeline attempting to date other men in order to get over Guy. There was a scene in which she made a boy wait for her outside while she got a haircut only to tell him after (and after he bought her a cookie) that she had made a commitment, a complete fib, and had forgotten about it. So they had to cancel their date. She was lucky the boy didn’t take it personally because most would have. I didn’t agree with her actions but I was glad that Chazelle wasn’t afraid to put his characters under a negative light. The film also managed to capture tension in the awkward moments. Take the scene in which Guy and Elena showered together. In a span of about two or three minutes, the mood changed from friendly chatter to unbearable silence. It was awkward enough to have the camera next to them as they showered but the awkwardness was amplified when nobody said a word. One did not have to have had a boyfriend or girlfriend to recognize that one poorly chosen word or sentence could destroy an otherwise good vibe. However, I wish some scenes made more sense. When Elena met an older man in the streets and he took her to his home, I didn’t understand why that was relevant. I felt like there was a missing scene or two that would help to explain why it made it through the editing room. “Guy and Madeline on a Park Bench” was surprisingly modern, with moments of effortless introspection from its emotionally troubled characters, despite the black and white cinematography that hearken back to its French New Wave influences. Its confidence could be felt as the characters broke out into song and dance. It implied that falling in and out of love was a celebration.
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.
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.
One Day (2011)
★ / ★★★★
On July 15, 1988, Emma (Anne Hathaway) and Dexter (Jim Sturgess) graduated from university. They were ecstatic because, like most graduates, they were convinced that the world was ripe for their picking. Emma strived to be poetess/writer in London. Dexter was uncertain but he had plans of vacationing/teaching English abroad. Over the course of twenty-something years, the film, based on the novel and screenplay by David Nicholls, checked in on them on the same day each year. While its premise was interesting, the storytelling was disjointed and unconvincing. What Dexter and Emma had was supposed to be an example of a deep friendship. After all, they pined to see or call each other when something important happened in their lives. However, there was a drought of clues in terms whether or not they even saw or heard from each other on any other day except July 15. As a result, as each year passed by, it became increasingly difficult to buy into what they supposedly had. After all, deep friendships are also rooted in going through ordinariness together. Emma had a crush on Dexter even before they formally met. While understandable because he commanded great hair that seemed to come out of a high fashion magazine, Dexter was almost completely charmless. His jokes felt more like personal jabs and he was an unapologetically hedonistic womanizer. He’d go in the direction, without careful thought for the feelings of others, that made him feel good the most. So how could we feel sympathy for him when his career as a television presenter reached a screeching halt? And why did Emma want to continue seeing him for as long as she did? The most obvious answer is that she enjoyed being heartbroken. This was disloyal to her character who initially smart, funny, and always strived to be independent. The best part of the film was Dexter’s mother (Patricia Clarkson) and her struggles of dealing with cancer and watching her son traverse the path of self-destruction. Clarkson wasn’t given much screen time but each time she was on screen, she provided a fiery complexity that the material desperately needed. When the mother looked at her son, I stared in her eyes and I couldn’t fully determine what took more energy out of her: Was it her illness combined with the chemotherapy or was it her son being blind to the fact he was so far from what he hoped he’d become? Unfortunately, Emma’s parents were nowhere to be found. I wanted to know how they saw their daughter other than a one-dimensional sweet girl, occasionally sporting a great haircut circa 2003, with nice dreams. I waited and hoped that someone practical would just bluntly tell her to snap out of her fantasies and remind her that aging comes hand-in-hand with prioritizing. The fact is, you can’t wait for a man or woman until he or she sees something in you. “One Day,” directed by Lone Scherfig, was supposed to be romantic and inspiring but it was ultimately masochistic. Much of its criticisms had something to do with Hathaway’s English accent. It had bigger problems than that. It’s a movie made for women but I’m afraid it doesn’t have much respect for them beyond the surface level.
★★ / ★★★★
Russ (Tom Cullen) was a gay man with mostly straight friends. After attending his best friend’s party, Russ decided to go to a gay club with hopes of hooking up with a stranger. After attempting to make eye contact with several men as a signal he was willing, Russ eventually encountered Glen (Chris New). Morning came and the two engaged in their first real conversation over coffee. They liked each other enough and thought what they had was worth exploring. But, initially without Russ’ knowledge, Glen was supposed to head to Oregon after the weekend and live there for two years to study art. They now had to make a decision whether their one night stand was viable enough to turn into a relationship. Written and directed by Andrew Haigh, “Weekend” could easily, even understandably, appeal to those craving for realistic stories about gay lifestyles. There’s just not that many of them. Great ones are rarer still. The casting was good given that neither looked like a chiseled Adonis. In fact, their appeal was in embedded in the ordinariness of their looks. In return, we were forced to look within–their personalities, motivations, and perception of the world. Given that neither looked like a steroid-obsessed, stereotypically dominant beefcake or a stick-skinny twink, the sex scenes, mostly unnecessary, held a certain honesty: the unshaven corners, fat hanging about the torso, and wrinkles unhidden by make-up. Having the camera so up close to their bodies and faces, we could easily get the sense that the two had just had sex. Like in reality, the morning after is usually far from glamorous. Most of the time, you just want to jump in the shower to wash the night away. However, despite my best efforts, I felt no spark between Russ and Glen. It was critical because they were supposed to be increasingly attracted to one another over the course of the film. The reasons why they wanted to take their relationship on another level weren’t at all clear. Glen was condescending to Russ. He was repulsed by the fact that Russ didn’t like to kiss or hold hands in public as heterosexual couples generously often do. Because of this, he was convinced that Russ was not comfortable with being a homosexual. I was extremely annoyed with what he represented because he felt it was his prerogative as an out and proud gay man to constantly remind people that he was gay. To him, being ostentatiously gay was tantamount to being comfortable with his sexuality. No, it’s not. It means you’re being obnoxious. In the end, Russ subtly accepts that ideology. The supposedly sweet ending left a bitter taste on my lips. It sends the wrong message to audiences, especially to LGBT youths who are still deciding how they want to live their lives. Furthermore, the constant usage of drugs was an issue I had due to its mixed messages. I found it ironic that the two men were supposed to be connecting with one another through sex and deep conversation while snorting cocaine and smoking marijuana. How can you really get to know someone while being under the influence? All the discordant factors and hypocritical implications made me feel angry. While I understood Russ’ loneliness and the dangerous lengths he would go to assuage that emotion, the rest lacked practicality. It’s a shame because I do have friends like Russ who engage in casual sex with strangers and experiment with all sorts of drugs. The film implies that such a lifestyle is A-OK. It’s certainly not okay when you hear news that your friend has contracted HIV or died from overdose.
★★★ / ★★★★
Oliver (Ewan McGregor) was still mourning over his father’s death when he met Anna (Mélanie Laurent) at a costume party, who couldn’t speak at the time due to laryngitis, an actress who was always on the move. Through her, he hoped to determine his place in terms of making a genuine, stable commitment with another person. Along with grief, Oliver felt confusion. His father, Hal (Christopher Plummer), at seventy-five, came out as a gay man right after his wife died. He claimed that he didn’t just want to be “theoretically gay” and he wanted to do something about it. So, he posted an ad and met Andy (Goran Visnjic), a younger man who was able to give Hal happiness for four great years. “Beginners,” written and directed by Mike Mills, seamlessly jumped back and forth between life and death, father and son. Oliver and Hal’s relationship, though sad and somewhat strained, was fascinating to observe. Not once did we get to hear them say, “I love you” to one another yet we felt that unspoken sentiment through their actions. It may come off that Oliver was a bit repelled by his father’s homosexuality. Regardless whether it be the truth or not, I was convinced that he respected his dad. Hal was, essentially, a prisoner his entire life. He was a prisoner of the times and his sexuality before he came out. When he did, he was still a prisoner because he almost immediately learned that he had a tumor in his lungs and that it had metastasized. What I loved about him was the fact that he didn’t allow himself to be a victim. He was a fighter. He faced difficulties with optimism. He didn’t allow the disease to limit who he was. I could look in his eyes and feel that he thought he deserved happiness. Not even his own son, an adult, could get in the way of that. And it shouldn’t. Most of the picture’s source of comedy was Hal telling his son about his adventures like how much fun he had at a gay club. But telling stories over the phone or in person was different than being physically included. When surrounded by gay men, Oliver almost distanced himself. His discomfort was apparent. There were several scenes that involved Oliver’s childhood and his relationship with his mom (Mary Page Keller). He valued the idea of his mother and father being together even though he, as a child, felt like there was something wrong in the marriage. The idea and the fears that came with it was probably why he consistently had trouble staying in a relationship. Unlike his father, I got the impression that he, subconsciously, felt like he didn’t deserve happiness. But he does. He just needed to let go of the rules, relax, and live his life the way he wanted to. He was a product of an American society that characterized itself as having one “right” answer, one “right” way to live. “Beginners” had a defined theme which was adaptation: Hal’s sexuality and cancer, Oliver’s sense of self-worth, and even Arthur, Oliver’s dog that can telepathically communicate, getting used to his new owner. Touching but never too heavy or suffocating, it was able to impart valuable lessons for both young and old.
Friends with Benefits (2011)
★★★ / ★★★★
Dylan (Justin Timberlake) and Jaime (Mila Kunis) were recently dumped. Kayla (Emma Stone) claimed Dylan was emotionally unavailable while Quincy (Andy Samberg) thought Jamie was emotionally damaged. The next day, Jamie, a head-hunter, picked up Dylan, an art director, at the airport. She was from New York, he was from L.A. Their friendship began when Jamie attempted to persuade Dylan that taking up a job for GQ magazine and moving to NYC was the right thing to do for himself as well as her bank account. While watching a romantic comedy, Dylan had a great idea: they were to take their platonic friendship to another level by sleeping with each other without the emotions inherent to labels like “boyfriends” and “girlfriends.” Jaime thought it was a great idea. Based on the screenplay by Keith Merryman, David A. Newman, Will Gluck, “Friends with Benefits” was hip, fun without overbearing, and overzealous to please even the most cynical viewers. The first half was strong because with each passing scene, it was increasingly transparent why Jaime and Dylan made a good team that we could root for. Interestingly, the script imbued Jaime with enough masculine qualities for men to be able to relate with her. She was the kind of girl that guys would be comfortable drinking beer with. Conversely, Dylan had feminine characteristics in order for women to find him cute and relatable. He was the kind of guy who could get a mani-pedi and not feel uncomfortable with his sexuality. The first couple of sex scenes worked because we wanted them to just do it. The sex scenes didn’t just feature naked people touching each other. It was somewhat like getting in bed with another person: you have fun and you get to learn each other’s weird quirks. But the film suffered from diminishing returns. There were one too many scenes of the non-couple in bed and sharing caring looks while out and about in the city. But the movie really took a nose-dive when Dylan decided to take Jaime to L.A. to meet his family (Richard Jenkins, Jenna Elfman, Nolan Gould) because it started to feel like a run-of-the-mill romantic comedy. The edge was brought to a minimum and the story began to feel like a soap opera. The questions no longer involved how far Dylan and Jaime could take their newfangled sexual freedom and what they were willing to sacrifice to maintain the status quo. The question became about Dylan and when he would realize that Jaime was “the one” for him. Even the word “soulmate” was thrown around a couple of times. “Friends with Benefits,” directed by Will Gluck, was a sheep in wolf’s clothing. It wanted to poke fun of romantic comedies but, at the same time, pass as one. It didn’t need to try so hard. With supporting characters like Lorna (Patricia Clarkson), Jaime’s mom, who liked the idea of loving men but not actually being with them, and Tommy (Woody Harrelson), Dylan’s co-worker in charge of the sports articles, who constantly asked Dylan if he was sure he was straight, I felt that the writers could’ve taken their material, plagued with product placements, in a myriad, more interesting, elliptical directions. Nevertheless, the movie managed to survive from its typicalities by having a strong first hour. It wanted to be daring. Who’s to say you can’t end a romantic comedy just after it passes its one-hour mark because there is nothing to solve? That would have been a statement.
★★★ / ★★★★
John (John C. Reilly) couldn’t move on from his divorce so his ex-wife (Catherine Keener) and her future husband (Matt Walsh) decided to drag him to a party where he could mingle and hopefully meet some single women. After a series of forced and awkward conversations, John met Molly (Marisa Tomei) and the two seemed like a good fit. Although she was very attractive, unlike most women at the party, she wasn’t difficult to approach and didn’t make John feel bad about himself whether it be his physical appearance–he described himself as “like Shrek”–or his job. She overlooked his many imperfections because she loved John’s honesty. However, their relationship came to screeching halt when John met Cyrus (Jonah Hill), Molly’s son, who was unnecessarily sarcastic and had a little bit of insanity in the eyes. Having an unhealthy close relationship with his mom, Cyrus’ plan was to drive John out of Molly’s life. Written and directed by Jay and Mark Duplass, “Cyrus” would easily have been a disappointment in the wrong hands. What I loved most about it was it allowed the characters to act like people one could potentially meet at just about anywhere. They were conflicted in what they could offer to someone else, sometimes self-pitying, capable of making royal mistakes, and at times readily able to forgive or overlook certain actions. Even though the material was essentially a comedy, it tried to deal with serious issues in a respectful manner. For instance, we didn’t know who Cyrus really was for the majority of the picture. Despite his selfish actions, I might have disliked his actions but didn’t loathe him. It made me wonder whether his fear of being replaced was driven by another factor like a psychological trauma or a chemical imbalance. I saw John, Molly, and Cyrus’ relationship as three people in a canoe attempting to make it from one island to another, like a relationship in a state of critical transition. John and Molly were content in sitting in the canoe in silence. They had excellent chemistry, almost as if the current wanted them to reach the second island. But Cyrus, despite being twenty-one years of age, was essentially a kid. He talked as if he was years beyond his age but he hadn’t reached a certain level of maturity just yet. He craved attention and so he rocked the canoe with all his might, sometimes even found it gratifying to see the friction between his mother and her new beau. Is the canoe going to tip over? “Cyrus” was an interesting exercise of the dynamics of complicated relationships and the happiness that each character desperately wanted to grasp. It’s refreshing to watch understated comedies where its sense of humor was in the characters’ situations instead of the joke being pointed at themselves.
★★ / ★★★★
A journalist (Kenneth Branagh) divorced his wife (Judy Davis) because he wanted to be with other women–women who were some type of a celebrity, like a supermodel (Charlize Theron), an actress (Melanie Griffith), or a very successful book editor (Famke Janssen). One of his main reasons for divorcing his wife was, as he claimed, he was unhappy with the way she was in bed. The insecure wife, on the other hand, met a seemingly perfect television producer (Joe Mantegna). She could not believe the fact that she had met someone who was willing to devote everything to her. She suspected there must be something wrong with him and so she waited for the relationship to go haywire. Throughout the film, the journalist became unhappier while the ex-wife’s luck turned for the better. Directed by Woody Allen, “Celebrity” was ultimately a disappointment despite its interesting subject matter. I think it is more relevant than it was more than ten years ago because of the recent surge in technology that allows us to get “closer” to our celebrities. Unfortunately, I thought the humor was too broad. Did it soley want to be a showbiz satire, a marriage drama, or a character study? It attempted to be all of the above but it didn’t work because the protagonists lacked an ounce of likability. The journalist was desperate in getting into women’s pants while the ex-wife pitied herself so much that it was impossible to root for her. Their evolution and the lessons they learned (or failed to learn) were superficial at best. Instead, I found myself focusing on the many interesting and vibrant side characters. For instance, I loved Theron’s obsession with her health as well as her outer appearance. It was interesting to see her and the journalist interact because I constantly wondered what she saw in him. As the night when on, layers were revealed as to why while some details were best remain as implications. Leonardo DiCaprio as the very spoiled young actor was great to watch as well. His arrival on screen was perfect because it was at the point where the script was starting to feel lazy. The characters had no idea what they wanted or what they wanted to say. DiCaprio’s character was invigorating to have on screen because he wanted everything but at the same time his wants lacked some sort of meaning. Even though the spoiled actor and the journalist did not get along well, they were more similar than they would like to believe. While cameos were abound such as the surprising appearance of Donald Trump, I wish the filmmakers trimmed the extra fat in order to make a leaner film with astringent wit. It had some great moments but they were followed by mindless sophomoric jabber (uncharacteristically not charming considering it’s a Woody Allen film) that quickly wore out their welcome.
Annie Hall (1977)
★★★★ / ★★★★
“Annie Hall,” written, directed and starring Woody Allen, is considered one of the best romantic comedies in film history even though the couple did not end up together in the end. Alvy (Allen) wanted to determine what went wrong in his relationship with Annie (Diane Keaton) so we were taken back in time and given the chance to observe the major and minor events in their journey. The film was undoubtedly quirky but its intelligence and insight about how it was like to be in a relationship was what took this film from greatness to being a pop icon classic. My favorite scenes were when Allen decided to use elements that could have disrupted the narrative. For instance, I had loads of fun with the split-screen when the director wanted to compare Annie’s WASP family to Alvy’s Jewish family during a meal. The former was reserved, everyone masticated with their mouths closed, and had perfect posture at the table. On the other hand, the latter, like my family, consisted of many overlapping voices, gossip became a source of entertainment, and all sorts of etiquette was thrown out the window. Allen’s willingness to take risks showed me that he was confident about his project and that’s a key ingredient to make a successful picture. I also admired the film’s many references to pop culture and literature and the energy that drove them forward. I did not live in the 70s nor do I read a lot of classic novels. I did understand more than half the jokes but when I did not, I did not feel dumb or left out. That was when the energy became essential because there were about ten jokes in under a minute so I didn’t have a chance to linger on the fact that I did not “get” something. Furthermore, I loved that the director injected various types of comedy in the material. Some of the comedy were slapstick (the lobster scene), anecdotes (when Alvy vividly described his childhood experiences), blunders (a Freudian slip by Annie), and even some repartee between the two leads in the bedroom and the issue of sex and gender roles were put under the spotlight. Alvy and Annie could have easily been caricatures in less capable direction. Instead, the protagonists had great depth. They surprised us because of the inconsistencies in their beliefs and actions, they kept us watching because they spoke of and did things we, one way or another, had thought of and done, and they moved us because it was like watching two good friends deciding to go their separate ways. Clever in its approach in which irony penetrated every scene, “Annie Hall” was not simply as ode to romance but also an absolute love for creative and inspired filmmaking.
Blue Valentine (2010)
★★★★ / ★★★★
Cindy (Michelle Williams) and Dean (Ryan Gosling) were not exactly what one would call a happy couple. Cindy did not love Dean anymore. Perhaps it was because he acted more like a playdate toward their daughter (Faith Wladyka) instead of a firm parent. Maybe it was because of his tendency to drink alcohol before work. We couldn’t put our fingers on the exact reason why, but that was what I found to be the most beautiful. Sometimes we just stop loving someone and the reason escapes us. Dean was a sensitive man. The couple met when Cindy was in college and dating a guy (Mike Vogel) on the wrestling team. She wanted to become a doctor. Meanwhile, Dean worked for a moving company. He didn’t make much money but all he really wanted was to find the right person for him. Directed by Derek Cianfrance, the film jumped back and forth between the couple’s current unrewarding marriage and when their romance was at its peak. However, this was not to suggest that the couple’s current life did not have a drop of romance. Even when they were at a point of great struggle, I found romance in the small ways they tried. The former was difficult to sit through because it felt like something we shouldn’t be watching. It was like being stuck in a car with a friend and her boyfriend who happened to be fighting. No matter how much you turn up the volume on your iPod, you could still hear and perhaps feel or understand how they felt. There was a lot unexpressed frustration and anger between Cindy and Dean, but their aggression were personified in small ways like a snide look or an exasperated sigh. Their body movements said a thousand words. Since they could not communicate with each other in a healthy way, they were left to interpret the unsaid which led to the further dissolution of their marriage. On the other side of the spectrum, the latter was incredibly romantic. I don’t know anyone who wouldn’t crack a smile in the way they hung out in the streets of Pennsylvania as Cindy danced and Dean played his ukelele. Their first few interactions were awkward, especially when they ran to each other on the bus, but the wall between them melted with fervor. They seemed destined to be together. The film could have suffered from the typical pitfalls of melodrama. But with Cianfrance’s direction, the switch between different time periods felt seamless and natural. It preserved the emotions from the scenes before so it worked as a tool for our further understanding of the characters and what was at stake if they did ultimately decide to go their separate ways. Each scene was like a piece of a puzzle and it was up to us to determine, not the point where their relationship became sour because all relationships have their rough spots, but the point where one or both of them had finally given up. Is “Blue Valentine” something that couples should see? Absolutely. It may not be typically cute or funny, but it was smart, real, and challenging.
The Good Guy (2009)
★★ / ★★★★
Alexis Bledel once again plays an ambitious and smart young woman who was torn between two guys who worked on Wall Street. Tommy (Scott Porter) knew what he wanted, wasn’t afraid to act on his impulses, a sweet-talker and a womanizer. On the other hand, Daniel (Bryan Greenberg) was socially awkward, did not have much luck with the ladies, but his insight made it difficult for anyone to not fall head over heels with him. Due to some unforseen circumstances, Tommy enthusiastically took Daniel under his wing and tried to make Daniel be more like a cutthroat businessman than a poet who wore his heart on his sleeves. I enjoyed the movie because it was an observation of modern relationships set in an urban area but I felt like it did not take enough risks. I loved that Greenberg’s character highlighted the theme of the film in which he mentioned that his favorite book was “Pride and Prejudice” by Jane Austen because it was about false first impressions. Although the lead characters had clear dominant personalities, I found subtleties in them and I was interested with what was about to happen among the relationship between the girl and the two guys. I wished that their strained relationship was explored more and that the picture had less scenes of Tommy and his friends (one of which was played by the amusing Aaron Yoo) teasing each other and trying to pick up women in bars. I was also interested in one of the guys who worked on Wall Street who said he valued his wife and children more than his job and money. Greenberg had one scene with him which I thought was handled well because they found similarities in each other but it ultimately felt superficial because it wasn’t further explored. Written and directed by Julio DePietro, “The Good Guy” had the right ingredients to make a solid movie about character studies because I came to understand the protagonists’ motivations. But there were far too many scenes that did not need to be in the final product and not enough scenes that should have made it in. It also needed a bit more edge because there were times when the picture reached an emotional plateau. I could easily relate to the characters because even though they were out in the real world, they were still young and trying to figure out who they really were when with friends, with a special someone, or when forced to look at themselves when they had nobody else to turn to.
The Maid (2009)
★★★ / ★★★★
Raquel (Catalina Saavedra) had been a maid for the same Chilean family for twenty-three years and she felt as though she was a part of the family. When Raquel’s health started to fail because she was overworked, the mother of the family (Claudia Celedón) decided to hire other help despite Raquel’s denial that she needed it. Raquel then decided that she would, one way or another, get rid of each one. I loved this film’s intensive look at a character who gave her life for a family but the family did not seem to give much to her in return. Saavedra impressed me because she was able to wrap her bitterness in little “accidents” and classic passive-aggressiveness but still maintaining her role as the housekeeper as best she could. Even though I did not agree with certain decisions she made to get rid of the other maids, I empathized with the character because she had no husband or children and her relationship with her family and relatives was very limited. But only did I recognize the heart of the film when Raquel met another maid named Lucy (Mariana Loyola). Lucy had so much positive energy and enthusiasm to the point where it was contagious. The most moving scene for me was when Lucy found Raquel disinfecting the bathtub in the middle of the night. Lucy asked Raquel what was wrong and what the family had done to her that made her lose it, all of which accompanied with an embrace. It was then when I realized that despite all the small gestures the family members had given Raquel, none of them really bothered to ask how she felt–at least not long enough to stick around and have a genuine talk with her. After meeting Lucy, we got the chance to see Raquel evolve from someone who looked like she was on the verge of death to someone with so much life even though it was still awkward for her to let out a smile. Since she felt like someone finally cared about her, she became a much warmer person. “La nana” or “The Maid,” written and directed by Sebastián Silva, is a small but charming film that was dramatic although it had a bit of a dark comedic edge. It was an incisive look between the rich and the poor and the dangers of a lack of reciprocity especially with a person who felt like she was isolated from the world. The story may have been simple but it had subtlety. Best of all, it wasn’t afraid to look at and recognize painful truths about the distinction between how important we think we are and how important we really are in someone’s life.
Just Wright (2010)
★★★ / ★★★★
A physical therapist (Queen Latifah) in her mid-thirties couldn’t seem to find a guy who was right for her. They would go out on dates, have good conversations and have a nice time but at the end of the night, the guys would tell her that she would be an ideal girl friend but not an ideal romantic girlfriend. Perhaps it was because of her looks or perhaps she was way into sports. But maybe she just wasn’t their type. Who knows? Men usually don’t know what they want or what’s good for them. But one thing is for sure: I connected with the lead character the moment she appeared on screen because she was played by Latifah. She just oozes a certain honesty and it’s such a warm feeling so I couldn’t stop watching her and hearing her speak. Watching her get in her busted up car made me feel like I’m watching a friend I’ve known for a long time. When the lead character happened to bump into a basketball player (Common), as far as romantic comedies go, you knew that something would happen between them. But conflict started when her sexy best friend (Paula Patton), a golddigger, set her sights on the guy. Despite the fact that this film stuck to the romantic comedy conventions, I enjoyed it because I was in the mood for something light. There were some nice tweaks such as the golddigging friend not seen as evil by any means but she just had a dependent personality. I’m sure we all know women who couldn’t live without a man or couldn’t bear to not be in relationships. The picture had a consistently friendly air to it because Latifah’s character had the maturity to hold her tongue even though people said or did inconsiderate things toward her. In a way, she reminded me of myself on my best days but I admired her because it seemed like she was just that kind of person–always aware of the fact that people are flawed and they don’t mean half of the things they say because of their insecurities. However, I felt like the momentum of the movie stumbled a bit during the last twenty minutes. I felt like the movie could have tried harder to be a bit more original when dealing with the basketball player’s road to recovery from a knee injury and realizing which woman was the right one for him. Embracing the conventions doesn’t mean sticking with it all the way through. The material would have been stronger if it had that special element of surprise instead of just feeding us our own expectations. “Just Wright,” directed by Sanaa Hamri, had a number of flaws but just like people in our every day lives, we can learn to overlook such flaws because it’s so charming.