★★★ / ★★★★
When an innocent man was taken by the police and tortured to death, Sam Lowry (Jonathan Pryce), who worked for a passively tyrannical (and ultimately incompetent) government, was assigned to take a closer look at the computer error. Despite being aware that the many confusing bureaucracies that often led to dead-ends didn’t always serve the citizens’ best interests, Sam chose to retreat to his fantasy world when he felt overwhelmed. In his daydream, he was a powerful winged warrior who dueled a Samurai in order to rescue a beautiful woman. Reality and fantasy collided when Sam ran into Jill (Kim Greist), sharing great resemblance to the girl of his dreams, a woman suspected of terrorist activities like bombing public places. Directed by Terry Gilliam, “Brazil” was an adventurous satire that is worth viewing multiple times. There were heavy symbolisms, like a man being eaten by paperwork, and scenes that didn’t always fit into the big picture. For instance, the two electricians who seemed to gain some sick pleasure torturing Sam as they slowly took over his home. Granted, the scenes were very funny especially when Robert De Niro’s mysterious character appeared to lend Sam a helping hand. However, the picture was most fascinating when it tackled the absurd. Sam’s mother (Katherine Helmond) and her friends were obsessed with plastic surgery. Despite the many “complications,” they were willing to go back and endure the pain of having their skin cut up and stretched up to their scalp. It was almost like watching an addiction. It was hilarious but it held some semblance of truth in today’s obsession with youth and its relationship with the magic of science. What I found strange was how romantic the movie was at times. The film referenced Michael Curtiz’ “Casablanca” and its influence showed. The courtship scenes between Sam and Jill were silly and tender, yet it had darkness looming over the edge as something bigger than both of them threatened their budding relationship. It was interesting that Jill had the more masculine qualities, like driving a big truck that she called her cab, while Sam was the hopeless romantic who was hesitant to take action. Lastly, I found the final twenty minutes to be very hypnotic. While it didn’t make much sense as a whole, like in our dreams, sometimes the parts were more meaningful. What Sam went through personified the nightmare of the dystopian world that he and his loved ones happened to inhabit. “Brazil” was an ambitious and imaginative film which was not unlike watching someone’s dreams. It requires a bit of thinking from us and, more importantly, recognition that our government and society may be heading in a similar direction.
Rare Exports (2010)
★★★★ / ★★★★
Pietari (Onni Tommila) and Juuso (Ilmari Järvenpää) snuck onto a restricted mountain where so-called seismic researchers, some Americans, were assigned to excavate something mysterious deep within the ice. The two boys overheard that what was embedded inside was going to redefine the world’s notion of Santa Claus and Christmas. When Pietari got home, he began to research about Old St. Nick and his origins. It turned out that the legendary figure was far from nice and jolly. According to the books, every Christmas, he kidnapped naughty kids, put them in a cauldron, and ate them. Pietari was determined not to get taken. Written and directed by Jalmari Helander, “Rare Exports” brimmed with scintillating originality, enough to inject kids with increasing unease and force the adults to watch with fascination. It was fun to watch Pietari run around and put pieces together because there was something innocent and bold about him. Since he wasn’t taken seriously by adults and fellow children, he felt he had something to prove. His determination and thirst for adventure was similar to the beloved kids from Steven Spielberg’s “E.T.: The Extra-Terrestrial,” Richard Donner’s “The Goonies,” and J.J. Abrams’ “Super 8.” But like the aforementioned flicks, the film worked as a family drama. Pietari and his dad (Jorma Tommila) lived by themselves where interaction with others required a vehicle due to distance and safety issues. There was a moving scene during Christmas Eve when the two sat on the table and ate gingerbread cookies. Nothing else was prepared. The absence of the key woman in their lives was palpable. Even though it wasn’t fully discussed, we were able to infer that Pietari and his dad were still mourning from the death of his mother and wife, respectively. The son asked his dad whether it would make a difference to him whether he, too, would “disappear” and if he had been good this year. The father deflected the questions with a loud command of sending his son to bed. Sometimes it’s easier to circumvent the truth. On Christmas day, Pietari found that the bait for the wolf trap his father had set the day before was gone. Instead of finding a wolf in the pit, there was a skinny man with a beard. The film played with our expectations some more and threw around very strange red herrings like a kid opening presents with delirium. Our lack of knowledge involving the origins of Santa Claus in their part of the world served as a wonderful, magical, creepy source of tension. The man that the father and son found was critically injured and seemingly unable to understand language. He only responded, with extreme alarm, when Pietari was around. Pietari thought it was Santa Claus and he just had to tell his friends given what he knew. But none of them were to be found. Toward the end of the film, CGI was used profusely, but it was utilized to enhance the experience. “Rare Exports: A Christmas Tale” was unafraid to tackle darker material yet it was quite satirical. Its brazenness and creativity in putting our little protagonist in the face of danger without coming off as exploitative was admirable.
★★ / ★★★★
The first shot of the movie, at least from our perspective, showed a group of people looking at a painting. After a split-second, it was revealed that the individuals were simply waiting for the elevator in which the painting happened to be next to. I wish the entirety of “(Untitled),” written and directed by Jonathan Parker, was more like the opening shot because it took advantage of our expectations and what we were seeing. The film happened to hit good and sour notes. On one hand, I thought it was really funny. I laughed out loud at the scenes when the main character, Adrian (Adam Goldberg), would play avant-garde music with his band and the audiences in the picture were simply shocked with what they heard. Or worse, that they actually paid to listen to it. The music Adrian and company played was like a group of toddlers randomly banging kitchen utensils. It was painful to the ears and most people would just wish for it to stop. Another reason why I thought it was funny was because the lead character took himself so seriously. He had real insight about his place in the art world and I thought his ideas were revolutionary. On the other hand, the romantic angle between Adrian and the posh art gallery dealer (Marley Shelton) felt forced. Their interactions felt too convenient; it felt like an awkward tool that served to keep the plot running along. I thought it was odd that the characters talked about hating commercial work but at the same time the movie they were in, whenever it focused on the romance, felt exactly like a quirky romantic comedy. Instead, I wish the movie had spent more time exploring the sibling rivalry between Adrian and Josh (Eion Bailey). Not just because both men liked the same woman but also because of their style of art. It would have been more fascinating because Josh was everything Adrian was not. I was interested in their history such as the environment from where they grew up in and the various inspirations they embraced that shaped their respective artistic endeavors. As a satire, “(Untitled)” marginally succeeds. Unlike Duncan Ward’s insular “Boogie Woogie” that tackled essentially the same issues, “(Untitled)” was equally about the images and sounds we saw or heard and the people that produced them. Even though everyone was flawed, I understood where they came from and I felt the passion toward their work. There was a wonderful scene near the end when Adrian attended a concert and later he was inspired to actually make progress concerning his own project. The inspiring moments were small but they resonated. I enjoyed at film in a number of ways and I hope others will take a chance to see it.
World’s Greatest Dad (2009)
★★★ / ★★★★
“World’s Greatest Dad,” written and directed by Bobcat Goldthwait, was a satirical film about a father/writer/teacher (Robin Williams) who decided to hide his son’s (Daryl Sabara) accidental death from masturbating and instead made the death look like a suicide. Williams wrote a suicide note and when the school got a hold of it, the note became an instant hit. Being a failed writer time and again, Williams decided to take advantage of his son’s death and get the acclaim he always wanted by writing a journal full of sad thoughts and claiming it was written by his son. From the sound of it, I expected to immensely dislike Williams’ character because nothing is right about taking advantage of someone’s demise, especially that of a loved one’s. However, his son was such a prick (for the lack of a better word–and that’s putting it lightly) who didn’t care about anybody but himself (including those who were really nice to him such as his father and his only friend played by Evan Martin). In fact, I didn’t feel sad or remorse when the son died. I really cared more for father because he genuinely loved his son despite his son’s lack of appreciation. I’m beginning to think that Williams really shines in smaller pictures like this one and the underrated “One Hour Photo.” There’s something about the way he hides his feelings and thoughts that I can’t help but identify with. I especially liked that one scene when he pretended to be happy for a fellow teacher who was recently published on The New Yorker. There’s something very true about that scene because we all know how it is like to smile on the outside but feel really jealous inside after hearing about someone else’s success, especially if we don’t particularly like that person for whatever reason. I thought the darkly comedic scenes worked because it was able to point to the hypocrisy of high school students and the faculty that supposedly cared. I’m talking about how everyone suddenly started caring about Sabara’s character after his death when nobody really cared about him when he was alive. It reminded me of the time in high school when my fellow students and I would hear about a death over the morning announcements. For a couple of hours everyone sounded like they cared but the next day everything was back to normal as if nothing happened. This might be a difficult film to swallow for most people because the content might seem a bit “cruel.” But that’s what I admired about it; it was able to point to us and say, “This is what’s wrong with you” but not to the point where we feel bad. In fact, the pictures gives us a chance to laugh at ourselves.
★★★★ / ★★★★
This is one of those films that I will never forget because of how daring it was (still is) especially back at the time of its release. Lindsay Anderson was able to helm a counterculture film that fuses reality with surrealism and dark fantasy, all the while embracing its satirical nature. This was Malcolm McDowell’s first feature film and it was easy to tell that he was a star. He played his character with such domineering sneer and swagger, it was almost as if he was preparing to star in “A Clockwork Orange” directed by the great Stanley Kubrick. The way McDowell’s character and his friends (David Wood and Richard Warwick) were constantly pushed toward the edge by the faculty was fascinating to watch. Each scene has an implication and a certain bite to the point where I found myself referring back to the earlier scenes and realized that foreshadowing is one of its strongest elements. The final scene involving a bloody student uprising against the school system was done in such a provocative way; I didn’t know whether to laugh or take it seriously. Another element that I found to be interesting was the romance between McDowell and a waitress (Christine Noonan). That one “animalistic” scene was so out of the blue but it was exemplary because it’s as if it symbolizes every student’s frustration in that public school. Lastly, the romance between Warwick and one of the younger boys (Rupert Webster) provided a much-needed sensitivity to the picture. Even though they may not have many scenes where they conversed, when they finally did, I couldn’t help but have a smile on my face. This may have been really controversial back in the late 1960s but I think it’s more relevant today. School shootings have now become far too common because of the way students feel about their teachers, peers and the school’s atmosphere. (On the other hand, one can argue that school shootings happen for no reason at all rather than to inflict pain and violence.) This film does a tremendous job avoiding expected rationalizations for the students’ future actions whenever it could. If one is craving for something different in style and perspective, this is the one to see.
Hamlet 2 (2008)
★★ / ★★★★
I’m not a big fan of slapstick comedy and it’s dispersed throughout this movie, but Steve Coogan’s enthusiastic performance as a drama teacher who wants to inspire his students prevented me from becoming completely bored by it. The presence of familiar faces such as Elisabeth Shue, Catherine Keener, Melonie Diaz, David Arquette, and Amy Poehler made it that much better because their sometimes subtle performances contrast to the all-too-obvious elements of the picture. Not to mention that “Rock Me, Sexy Jesus” song is not only satirical and catchy but just plain hilarious if one is not too sensitive when it comes to making fun of religion (Christianity in this case). I think I would’ve liked this film more if the slapstick that plagued the beginning were completely removed. Not only were they not funny, they also slowed the story down. Instead, the filmmakers should’ve dealt with race relations in the classroom; they tried to move in that direction but I got the feeling that the writers were afraid that the movie would get too serious. What is a comedy without a little bit of dramatic gravity? Despite my coming from a high school with a diverse group of ethnicities, self-segregation is not uncommon; it would’ve been nice if that was explored because I could relate to it and I think it’s still an important issue. I also liked the fact that the story of “Hamlet” was not just randomly chosen to make a play. Coogan’s character can relate to it, in his own strange way, so we get that sense of purpose. I don’t necessarily recommend this movie to just about anyone because it is targeted toward people with a specific sense of humor. If one is a fan of “Napoleon Dynamite” (which I hated with a passion), he or she might enjoy “Hamlet 2.” For me, this film is offensive (in a good way), satirical, and had heart but it could’ve been more insightful and moving if they had toned down the slapstick.