★ / ★★★★
To say that this movie was really bad would be an understatement. I love Ewan McGregor, Hugh Jackman and Michelle Williams because they are very talented actors (and are easy on the eyes) but I don’t know what they were thinking when they decided to star this in trainwreck of a film. This is one of those cases where both the writer and director are to blame, Mark Bomback and Marcel Langenegger, respectively. I felt like the picture tried to have way too many twists. It didn’t work because it failed to get the audiences to care for its leads. The impression I got during the first few minutes of the movie was that McGregor was a creepy little accountant in need of sex, Jackman was one jerk of a lawyer, and Williams was that girl who tried to be all innocent but she really wasn’t. Unlikeable chartacters aside, I also felt like the tone of the story was a little too gloomy and slow for its own good. I’m not talking about as-slow-as-molasses kind of pacing (which, admittedly, I sometimes like); I’m talking about as-static-as-a-rock-stuck-in-ice-in-the-middle-of-winter kind of pacing. I mean, half-way through the picture I realized that the story hasn’t been going anywhere. The characters are simply running around, trying to outsmart each other and the audiences are left in the dust without any kind of solid background regarding the characters’ motivations. That aspect of one-dimensionality is really a problem and a good writer should’ve been able to detect that. Yes, there were also obligatory scenes with slow motion but another thing that bothered me was its use of score. It tried to signal too much what the audiences should be feeling and it got really annoying because I wanted to realize for myself how I’m feeling with what’s going on on screen. “Deception” is weak all across the board and a one-star review (my lowest rating) doesn’t even begin to describe how egregious it is. If you love McGregor, Jackman and/or Williams, do yourself a favor and skip this one. You’ll prevent yourself from wasting an hour and fifty minutes of your life.
★★ / ★★★★
This picture started out beautifully but as it went on, it got too wrapped up in its own soap opera. I’m not sure whether the original material was the problem (it was based on “The Dying Animal” by Philip Roth) or if it was Isabel Coixet’s style of direction, but what I do know is that it should have been a more effective character study. Ben Kingsley, a cultural critic, falls for Penélope Cruz, one of his students. Kingsley’s character is very obsessive, insecure about his aging body and has a lot of fears about not being accepted by certain people. Cruz’ character is beautiful but she’s also very smart and she sees something in Kingsley’s character that not a lot people do. So, in a way, they’re a fit for each other despite the thirty-year age difference. I also liked Patricia Clarkson’s character and her “purely” sexual relationship with Kingsley. I say “purely” because even though the two desperately want to believe that what they have is merely sex, I could tell by their actions and silent moments that there’s something more about that relationship. Clarkson provided a much needed break between Cruz and Kingsley’s sometimes suffocating (but stirring) conversations. What didn’t work for me was Kingsley’s relationship with his best friend (Dennis Hopper). Not only was Hopper’s character underdeveloped, the tone changed whenever he was on screen so I was constantly taken out of that solemn atmosphere that the film tried to consistently attain. When I look at the bigger picture, I feel like I’ve seen it all before: the strained relationships, the regret and anger that comes with self-doubt, and the man falling in love with a much younger woman. I did like the conversations because they had real emotions and intelligence. However, I can’t recommend this movie because it didn’t quite reach the level and staying power that the first few scenes had promised to achieve.
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.
The Reader (2008)
★★★★ / ★★★★
If Kate Winslet doesn’t get nominated and win two Oscars for her performances in “Revolutionary Road” and “The Reader,” I would be very disappointed with the Academy. Having seen pretty much all of the films that generated the most buzz in the Best Actress category, I can vouch that she’s the one who truly deserves it. In “The Reader,” Winslet shines as a woman who gets sexually entangled with a fifteen-year-old boy, played with such vulnerability and innocence by David Kross. Strangely enough, even though their relationship is taboo, I’m willing to admit that I did find chemistry between the two of them. In the first half of the picture, Stephen Daldry, the director, was smart enough to focus on the two leads’ hunger. That hunger is presented both emotionally and physically but never completely separate. Both of the characters intentions are never completely clear which makes the film that much more interesting. I was often questioning myself about who was really using the other. Just when I thought it was about to lose its focus, the second half was able to summon all of its power and give its audiences reasons why they should care for the Winslet and Kross (played by Ralph Fiennes as time went on). Even though the two are deeply flawed, we relate to them in many ways because they tend to choose the more difficult path in order to keep protecting their secrets. Such secrets may seem so simple at first glance but there’s a lot of shame in those secrets, especially those that belong to Winslet’s character. Some of the best scenes of “The Reader” are its silent moments when the images do not require an explanation. Having said all of that, I think this film would’ve been much stronger if the last thirty minutes were more fluid. I thought there were many “final” scenes where the film could’ve ended. The “choppiness” could’ve been taken care of with a little bit more time. I’m giving this a high recommendation for the reasons mentioned previously but especially for Winslet’s performance. But the real surprise for me was the newcomer Kross, who I hope to see more in the future. He’s so brave for deciding to star in a film of this caliber. He not only sheds his clothes but ultimately his soul–which is far more challenging for any actor his age.