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.
The Back-Up Plan (2010)
★ / ★★★★
Jennifer Lopez had been absent from being a female lead actress for quite some time so I was really looking forward to Alan Poul’s “The Back-Up Plan.” Zoe (Lopez) made a proactive decision about having a kid via artificial insemination because she thought she would never find the guy for her. But the moment she stepped outside the clinic, she met Stan (Alex O’Loughlin), a nice, down-to-earth guy who wasn’t bad on the eyes with dreams of leading his own humble business. They didn’t get along initially but after a series of coincidences, the two eventually fell for one another. While I did like the two characters because they were charming and had undeniable chemistry, the material was just not funny. Some aspects of the film that were supposed to be funny but actually dead on arrival include the Single Mothers and Proud support group, Zoe’s incredibly transparent friends, and its lack of commitment in dealing with the serious questions about being a single parent. There were moments when Zoe had a chance to think about her future and whether she really wanted to stay on the path she had chosen but as soon as mood turned a little too serious, the movie would cut to a different scene and deliver slapstick infantile comedy. Not only did it take me out of the moment but I also felt emotionally cheated. The picture also lacked focus. I got the impression that the material was supposed to be from a mother’s perspective but it eventually lost track of its vision by establishing a series of scenes when Stan would meet a stranger at a park and discuss the struggles of fatherhood. While it was nice on the surface, I thought it was completely unnecessary. I already liked Stan and hammering the point that he was a good guy left me impatient. For me, I just saw it as another excuse to not deal with Zoe’s increasingly difficult preganancy, physically and emotionally, as she struggled with trusting Stan to stick around because the father and her child were not biologically connected. I think the movie would have been so much better if it had decided to take either the comedic or dramatic route. In an attempt to balance both, it managed to excel at neither path because every single step was formulaic and uninspiring. In the end, the elements of true exploration about how it was like to be a middle-class single mother were there but it tried too hard to be everything at once. The message of the film was vague–assuming that it wanted to communicate something in the first place. But then again maybe it just wanted to be a typical and too safe a romantic comedy.
13 Going on 30 (2004)
★★★ / ★★★★
Jenna was a thirteen-year-old girl who desperately wanted to belong in a clique led by a typical mean girl, unaware that her best friend had a crush on her. During Jenna’s ruined birthday party, she desperately wished that she was thirty and thriving; she woke up the next morning in a completely different body (Jennifer Garner) and had no memory of what happened in her life since her terrible 13th birthday party. She had to learn a lot of things such as her best friend being no longer the guy who truly cared for her (Mark Ruffalo) but the mean girl (Judy Greer) she wanted to impress in middle school. This is the kind of movie where we can clearly see how it would all end right from the beginning but I couldn’t help but enjoy it. It was well-aware of its predictability so it made the journey to the finish line so much fun by throwing us good and bad 80s references. It was as light as cotton candy and as sweet as bubblegum but it had wit, intelligence and charm. It was willing to wear its heart on its sleeves, which sometimes made me cringe because it didn’t know when to stop (for instance, Garner joining her parents in bed), but I thought it worked most of the time. Garner was perfectly casted because she was so good at being wide-eyed and innocent. I thought she was so adorable dancing to Michael Jackson’s “Thriller” and when everybody joined in, I couldn’t help but laugh and tap my feet. As for the romance, Ruffalo and Garner had perfect chemistry. Watching them together had its syrupy moments but I always felt a certain tension or awkwardness between them because their characters hadn’t spoken to each other in a long time. I think they captured the essence bumping into someone you knew from high school and you had no choice but to make small conversation in order to not seem rude. However, I think the picture could have worked more on the cold-hearted Jenna. The script kept bringing up the fact that everybody was scared of her because she was conniving and had no problem abusing her power. I was curious about her darker side. By exploring that angle, I think the movie could have delved into Greer’s character a lot deeper. After all, there is often pain and jealousy between two friends having to compete against other. Directed by Gary Winick, “13 Going on 30” is a bit too safe in its approach but it’s still a highly enjoyable romantic comedy. It could have easily have overdosed with twists and turns because of the magical element that helped to drive the story forward but it refrained. It wasn’t as good as Penny Marshall’s “Big” but it was able to acquire some magic unique to its own.
Love Actually (2003)
★★★★ / ★★★★
Written and directed by Richard Curtis, “Love Actually” followed nine stories of people in love, which did not necessarily have to be in connection with romance, prior to and during Christmas. “Love Actually” is one of those films I feel the need to watch around early December to get me in the mood for the chilly holidays. It is also one of those movies that I decide to watch whenever I’m in a bad mood because it never fails to make me smile. Out of the nine storylines, two of them were uninteresting compared to the rest. Kris Marshall’s character believing that he’d only get sex in America because he claimed that British girls were snobs was good for one laugh but the rest of his scenes felt as desperate as he was. Meanwhile, Colin Firth playing a broken-hearted author felt too Nicholas Sparks for me and, aside from when he finally had the courage to ask the woman he believed he loved to marry him in broken Portuguese, the pace was too slow compared to the other vignettes. The three best stories involved Bill Nighy as a rockstar who would say and do anything to get his song to be the number one hit on Christmas (I loved the line when he advised kids not to buy drugs, that they should instead aspire to become pop stars so they could get drugs for free–hilarious!), Emma Thompson and Alan Rickman’s crumbling marriage, and Laura Linney’s struggle between taking care of her ill brother and finally making a move on Rodrigo Santoro after years of pining over him. Those three were very different from one another but they worked side-by-side because, while each was about love or passion, there was genuine sadness in each situation so we laughed more when something surprising or cute happened. The other four stories ranged from mediocre to barely above average. Hugh Grant as the quirky Prime Minister falling for the coffee girl (Martine McCutcheon) who everyone thought was fat was cute but ultimately superficial, the two pornographic actors (Heike Makatsch, Martin Freeman) were slightly amusing because they were awkward to watch but nothing more, Liam Neeson as a stepfather of a boy (Thomas Sangster) whose mother just died was incredibly sappy (but was somewhat saved by the “Titanic” scene), and Andrew Lincoln secretly pining (via exuding very negative energy) for his best friend’s wife (Keira Knightley) lacked edge and real drama. But I do have to say that, out of all the characters, I can relate with Lincoln’s character most because I usually act the same way as him with someone I like. I think he said it best: It’s self-preservation. But nevermind the film’s shortcomings. The clichés were abound but there were enough changes to the formula to keep me interested and, more importantly, laughing from start to finish. For a movie that runs for over two hours, it was relatively efficient with its time. If you’ve ever loved someone despite their imperfections, that is tantamount to how I feel toward this romantic comedy. To me, it is perfect.
Going the Distance (2010)
★★★ / ★★★★
Garrett (Justin Long) lives in New York and works for a record company whose main goal is to find bands that have the potential to be popular even though they’re not necessarily talented. Garrett finds his job unrewarding because he genuinely loves good music despite a band being non-commercial. Erin (Drew Barrymore) is an summer intern for a newspaper in New York who resides in the Bay Area with her sister (Christina Applegate). Being over thirty years old, she’s still in school because she once derailed her career plans for a guy. Garret and Erin meet and they get into an initially undefined long-distance relationship. Written by Geoff LaTulippe and directed by Nanette Burstein, “Going the Distance” is without a doubt a commercial romantic comedy but has an edge because it is actually believable in terms of how it’s like to be in a modern relationship. The script contained extremely funny lines and situations, the supporting characters (Charlie Day, Jason Sudeikis as Garrett’s best friends) were used in a smart way but never overshadowed the leads, and we believe that Garrett and Erin had something special so we are invested in the story. The small details were the things I appreciated most. I liked how the camera consistently focused on the man–the thoughts that were running around in his head and the pain that he must be feeling because he is very attached to the girl. It stood out to me because there were studies I’ve read about, compared to a woman, a man feeling more pain than he lets on when a romantic relationship is broken. And even though it wasn’t addressed directly, there was probably an age difference (Garrett’s age was undisclosed). I thought about why the two main characters valued certain things over others, their maturity levels, and the pros and cons of being in long distance relationship. Even though, on the surface, Garrett and Erin had a lot in common, they also had a lot of differences but somehow the director was able to highlight what great chemistry they have without resulting to being sappy and so we want them to be together even though not all of the characters believed they would make it. “Going the Distance” is an unexpectedly fast-paced comedy that manages to capture the diversity and the hustle and bustle of New York City (I actually liked the scenes with purposely bad lighting because it felt that much more realistic). It’s an intelligent film that isn’t afraid for both men and women to directly talk about sex and address what they really need in order to be happy. The movie even had time to refer to the economy’s impact the job market. I strongly believe that couples, not just the girl, will find themselves enjoying this laugh-and-loud romcom.