Some Kind of Wonderful (1987)
★★ / ★★★★
“Some Kind of Wonderful” was about two best friends named Keith and Watts (Eric Stoltz and Mary Stuart Masterson, respectively) who initially failed to see that they were perfect for each other. Watts being a hardcore tomboy certainly did not help their situation. But after popular girl Amanda (Lea Thompson) and popular rich boy Hardy (Craig Sheffer) broke up, Keith wanted to take Amanda on a date and Watts started to feel uncomfortably jealous. I did enjoy the movie as a whole but I think it came up short on delivering something unique. I love the whole 80’s thing going on with Keith’s eccentric family, the divide between the rich and the poor students, the big hair, and the nostalgic soundtrack but by the end of the movie, I didn’t feel like I knew the main characters that well. Since the picture was written by John Hughes, compared to his other projects, his characters in this film felt one-dimensional and the way the story unfolded (like most 80s teen movies) felt painfully obvious. But what made this movie work less for me was the fact that it didn’t even try to surprise me in terms of delivering something I didn’t expect from the characters. I also thought it was weird that I didn’t get emotionally involved with the characters’ lives. All of the drama was on the outside so as much as I tried to like it on another deeper level, I just couldn’t. Although there was tension between Keith and his dad (John Ashton) because Keith did not want to go to college, it felt like a distraction because the movie was more about (or should be more about) the relationship between the two best friends. I didn’t feel much chemistry between Keith and Watts so I thought it was necessary for the film to prove to me that there’s a compelling reason for the two of them to be together. There were times when I thought Thompson’s character outshined Masterson’s because of the popular girl’s shame of desperately trying to hide where she came from to the point where she was willing to hang out with snobby rich girls who could care less about her. I was more interested in Thompson’s character because I could see the pain she was going through and the reasons why she decided to make certain decisions. Although Watts had her share of insecurities in the locker room, I needed to know more about her, especially if Keith was going to choose her in the end. Still, there were some funny scenes especially when Elias Koteas (as a bully who looks like a skinhead) was on screen. Directed by Howard Deutch, “Some Kind of Wonderful” needed more sensitive moments that weren’t necessarily expressed in a highlighted manner. Sometimes, subtelty can go a long way. Ultimately, it’s a nice movie but there’s a fine line between sensitive and cheesy. At times it stepped on the latter’s territory.
Road to Perdition (2002)
★★★ / ★★★★
Directed by Sam Mendes, “Road to Perdition” was about a father (Tom Hanks) and son (Tyler Hoechlin) who had to go on a run from a mobster (Paul Newman) after the mobster’s son (Daniel Craig) murdered the wife (Jennifer Jason Leigh) and the younger brother (Liam Aiken) out of jealousy. I saw this movie back in 2002 but I don’t remember much of it. Watching it again eight years later, I thought I was in for a hardcore action picture that involved gun-wielding gangsters but it turned out to be much more than that. Hanks completely blew me away because even though he was a hit man and had to be tough (the members of his family always kept a distance), there were moments of real sensitivity to his character, especially the interactions with his son when they were on the road. While it did have intense action scenes which involved Jude Law (also a hit man who happened to photograph dead people for a living) and Hanks in the diner and the hotel room, the movie was more about the slowly strengthening bond between a father and a son. Equally, it was about the father’s moral conflict between his family and the person he worked for as well as his own hopes of his son not turning out like him. All of the elements came together and created real tension so I was glued to the screen. While the picture had an ominous feel to it, it also had a great sense of humor such as when Hanks would rob banks specifically from the mobster’s accounts. The way Hanks delivered his lines to the bank managers made me feel like he was really having fun with his character. I thought “Road to Perdition” was a well-rounded film in terms of script, tension and unpredictability. However, it excelled in terms of acting and not playing on the obvious. Newman was not an ordinary mobster boss because he was gentle with children and the people he liked. But at the same time, his patience was short when it came to certain people, especially his son, and we really got to see how of much of a monster he could become. As for Law, as usual, he was very charming as he was lethal. He provided a nice contrast to Hanks’ dominating presence because Law didn’t seem dangerous at first glance. If I were to nitpick for a weakness, I would say that Hoechlin’s character could have been explored more. I argue that he was the main character (instead of Hanks) because he was narrator right from the opening scene. While he did go through some kind of evolution, he wasn’t as multidimensional as the other characters mentioned prior. Nevertheless, “Road to Perdition” is a strong film because of the organic manner it unfolded aided by very exemplary performances.
Real Women Have Curves (2002)
★★★ / ★★★★
“Real Women Have Curves,” directed by Patricia Cardoso, was about a smart Mexican-American teenager (America Ferrera) who wanted to go live her life by seeing the world and getting the best education she can but couldn’t because her family and the family business needed her at home. I thought this movie was very accurate in portraying a person who was capable of so much but was often limited by family responsibilities. I knew people like Ferrera’s character back in high school and I think this movie was great at showcasing someone who was torn between what a teenager wanted to accomplish and what a teenager expected to accomplish. One of the main driving forces of the film was Ferrera’s relationship with her mother (Lupe Ontiveros) who was as dramatic as the characters she watched in her soap operas–which made me laugh because she reminded me of my mom and her Filipino soap operas–and her extremely hardworking sister (Ingrid Oliu) with a surprising amount of depth and heart. The way the three women interacted with each other was fascinating because although their interests often collided, there was a certain level of respect and love that was always present. I also found Ferrera’s connection with her teacher (George Lopez), who pushed her to apply to Columbia University, and a romantic interest (Brian Sites) interesting but they were a bit underdeveloped. With a running time of less than an hour and thirty minutes, that was expected but the picture would have been stronger if those elements were fully realized. After all, as much as the movie was about family, it was also about Ferrera’s struggle to want to reach outside of her community. I found it easy to relate with this movie because I also wanted to see things outside of my Filipino community back when I recently immigrated to America when I was eleven. Although my parents were not strict about sticking to our roots, there were some little things that caused tension between us that were directly related to our culture. I was impressed with “Real Women Have Curves” because it was a solid coming-of-age story that seemed to tackle multiple subjects at once including important issues like body image and self-esteem. There was a hilarious scene in the sewing shop that involved women comparing the amount of fat they had in their bodies. That dose of reality was refreshing to see especially when teen movies nowadays always feature teenage characters who are built and/or skinny but are not at all smart and/or sensitive. And if they were portrayed as smart and/or sensitive, most movies directed for teens felt forced and superficial. But in this picture, it felt genuine and that much more powerful.
Private Dicks: Men Exposed (1999)
★★★ / ★★★★
This documentary, directed by Thom Powers and Meema Spadola, managed to cover a variety of topics that ranged from sexuality, why men don’t talk about penises, puberty, circumcision, sexual performance, sexually-transmitted diseases, penis sizes, to fertility in a span of less than an hour. Although it started off as hilarious because I was so shocked with how direct the interviewees were, I was touched because the film eventually focused on sensitive issues, such as being a transgender, with such insight and sensitivity. I loved that this documentary featured people from many backgrounds: gay, straight, transgender, bisexual, Asian, black, white, hispanic, old, young, middle aged. But what I loved most was the fact that it wasn’t afraid to show people with bodies that are not so-called ideal. I thought it gave the picture a new level of realism and honesty because more than half of Americans are not as glamorous as the people we see on television and films. However, if I were to pick out a weakness, it would definitely have to be a lack of depth. Although it was very organized because it was divided into chapters, the chapters only lasted for about ten minutes. Just when I was getting the feeling that we’re really getting to the meat of the issue (pun intended), it pulled away as if it was on a rush (pun intended again? I’m on a roll). This was particularly problematic for me when the transgendered people were being interviewed. Since I don’t know much about them, I was fascinated and I wanted to know more about their experiences–how they saw sexuality and what it meant for them to live in a society were being themselves is taboo. Perhaps another thirty minutes would have taken this movie from just good to pretty great. I also enjoyed the fact that even though there were a lot of jokes and funny anecdotes thrown around, it really emphasized the importance of health. More specifically, the importance of practicing safe sex. I particularly admired the segments when a guys would admit to having some sort of STDs; even though it wasn’t obvious, we could see in their eyes that maybe they would have done things a bit differently given the chance to go back in time. This may be a small film but I think it had some sort of an importance. It gives people a chance to showcase men’s sexual perspective and that we, too, like women, are willing to talk about sex in a direct, mature and fun way.
★★★ / ★★★★
A lonely man with Asperger’s syndrome (Hugh Dancy) who recently lost his father found real connection with a teacher named Beth (Rose Byrne) who recently moved into his apartment building. What I loved about this picture was its ability to show the sometimes comical awkwardness of a character who happens to have Asperger’s but still remain sensitive and accurate throughout. With movies that have such sensitive topics, it’s easy to make fun of the person with a condition to get the laughs. In here, his awkwardness was matched with his romatic interest’s because there were times when she, too, did not know what to say or do. I enjoyed the romance angle of this film but what did not work for me as well was the bit about Peter Gallagher’s character being in court. I thought those scenes dragged a bit. Its connection to Adam’s life was not strong enough except for the fact that Beth and her father were often at odds. Still, I’m giving this movie a recommendation because, from what I learned in school and the reviews I read written by Aspies, it was true to life; how their limited social abilities impact a huge portion of their lives such as making friends, finding the right person they want to spend the rest of their life with, being interviewed for a job or making small talk with strangers. The best scenes are those with Dancy and Byrne being in the same room and trying to connect. At times they may have a wall around themselves but when they do decide to let each other in and really talk about what they’re thinking and try to communicate what it is they want, there’s magic and it works as a love story. And there were just times when Adam found it difficult to be in Beth’s shoes or when he took things too literally. Written and directed by Max Mayer, “Adam” was able to successfully show how it was like for a person who could not express himself the way he wanted to to still find acceptance from others as well as himself. There’s a common mindset that people with autism are all the same, they’re all dumb and are less successful than “normal” people. This picture touched on those three mindsets to show that quite the opposite is true. I was very satisfied with the ending because it was realistic but it wasn’t sappy or heavy-handed. The implications it had were quite touching.
The Pianist (2002)
★★★★ / ★★★★
You can say a lot of things about Roman Polanski since his personal life is often torn apart among the tabloids but you cannot deny that the man knows how to make movies. Not just typical movies that happen to be commercially successful, but movies that are personal, have artistic merit and have distinct emotional resonance. In “The Pianist,” Polanski focused on the survival story of a Polish Jewish survivor named Wladyslaw Szpilman (Adrien Brody) in Warsaw in the middle of World War II. I thought it was interesting how the picture started off with him and his family (Maureen Lipman and Frank Finlay as his parents, Jessica Kate Meyer and Julia Rayner as his sisters, and Ed Stoppard as his brother) and then shift the focus on how he was able to survive on his own with the help of kind strangers and adoring fans (Emilia Fox). Even though this was set in WWII, I thought it felt a little different because we spent the majority of the time observing him from indoors–how he saw the war from his window somewhat from an outsider’s perspective yet still caught up in the middle of it. We also observed how he moved from one place to another and the dangers (and repercussions) of certain decisions he had to make in order to subsist. Back when I saw this this film for the first time in 2002, I did not understand what was so special about a man trying to hide in an apartment instead of joining his comrades to fight against the Nazis. But seeing this movie seven years later, I thought that Szpilman’s experiences were really painful because he had to live with the guilt of surviving as his friends and family were murdered. Yet at the same time, it took a lot of courage for him to want to keep living despite the fact that there were times when he caught serious diseases, hasn’t eaten for days on end, and how the lack of company almost drove him into madness. I was really touched whenever he would play the piano after hiding for so long; it was kind of like watching a man coming back from the dead. I thought it expertly embodied the idea of music being an elixir of life. My favorite scene was toward the end when he played the piano for the Nazi that chose to help him (Thomas Kretschmann). I would never forget that scene because I felt like a lot of things were communicated between them even though they weren’t engaged in a conversation. With such great acting from everyone involved in this film, “The Pianist” was an emotional experience I can only try to describe. I believe everyone should see it at least once because the many layers are worth exploring. It was melancholy, suspenseful, dark yet it was sensitive and truly remarkable.
★★★★ / ★★★★
Chris Taylor (Charlie Sheen) signed up to be a soldier because he felt like participating in a war was a family legacy since his grandfather and father fought the wars of their generations. Being a new soldier, he looked up to two people who had higher ranks: Sgt. Elias (Willem Dafoe) and Sgt. Barnes (Tom Berenger). The former represented composure, control and ethics despite the craziness of war, while the latter embodied the evil, darkness, and cruelty. I thought this movie was going to be another one of those war classics that was overly long. I was quickly proven wrong because of the number of scenes that highlighted the silence and all we could hear was the rustling of the leaves as the soldiers slithered their way through the jungle. I also didn’t expect a lot of character development because war pictures often focus their energy on the epic battle sequences. The narration worked for me because the thoughts and insights that Sheen’s character was unable to talk about with his comrades was out in the open for the audiences. There was a real sensitivity to his character; the real turning point for me when I decided that I was going to root for his character was when he proudly wore his naïveté on his sleeves regarding one of the reasons why he volunteered to be a soldier. He reasoned that that the rich always got away from all the dirty work and he felt that he shouldn’t be anyone special just because he was born with money. Also, since he felt like he wasn’t learning anything in college, essentially, he might as well make himself useful by joining the army. Scenes like those when the characters were just talking and measuring each other up really fascinated me and I was interested in what ways they would change by the end of the picture. Oliver Stone, the director, helmed a war film that had an internal mologue mixed with moral ambiguities instead of taking the easier route of simply entertaining the viewers with empty explosions and guts being flung into the air. “Platoon” was gorgeously shot in the Philippines and the night scenes really captured the horror of the enemies blending into the environment. Lastly, it was interesting to see future stars such as the younger Johnny Depp, Kevin Dillon, and Forest Whitaker. “Platoon” ranks among other unforgettable war pictures such as “Apocalypse Now” and “Full Metal Jacket.”