How the Grinch Stole Christmas (2000)
★★ / ★★★★
The Grinch (Jim Carrey) was born in Whoville, a place where everyone loved Christmas, but he ran away to live at Mt. Crumpet because he was bullied as a child for looking different. He grew up to hate Christmas and was absolutely willing to do anything to ruin Whoville’s good cheer. When a little girl (Taylor Momsen), doubtful of what Christmas was supposed to be about, suggested that the residents gave Grinch a chance to be a part of them, it just might be the perfect opportunity for him to ruin Christmas once and for all. Based on Dr. Seuss’ book and directed by Ron Howard, “How the Grinch Stole Christmas” was harmless, silly, and colorful which almost made it a perfect movie to watch around Christmastime. I just wished its heart was the priority instead of the comedy. Admittedly, despite the many slapstick scenes that made no sense whatsoever yet without a doubt would appeal to younger children, I did laugh at Carrey’s manic energy and deranged facial expressions. I smiled at the small chaos he created like giving little girls a saw and encouraged them to run around with it. I especially loved it when the filmmakers were brave enough to allow the mean, green Grinch to look into camera and comment on things like kids being desensitized by movies and television nowadays and the dangers of stress-eating. The latter was especially hilarious because most of us are guilty of it during the holidays. The Grinch mentioned the innate commercialism of the holiday as well. Some may perceive it as distracting but since he was a cynic, I thought it was appropriate for his character. While it was amusing because of Carrey essentially carrying the picture, I yearned for more moving moments. A bit of silence would have gone a long way. Naturally, the Grinch was a lonely creature. Although the material provided background information about why he decided to live by himself, it felt too superficial. I kept waiting for the film to explore the Grinch’s feelings of abandonment at the gut level. Furthermore, didn’t his parents look for him after he ran off into the snowy mountains? How did he meet his adorable dog? There were some unanswered questions that should have been answered or at least acknowledged. After all, without really understanding the misunderstood creature, how could we buy into his eventual change of heart? We wouldn’t just love him because he decided to return the toys he stole in the first place. “How the Grinch Stole Christmas” didn’t quite steal my heart but it managed to entertain. Hats off to Carrey for shining through the green costume and make-up.
Scream 3 (2000)
★★ / ★★★★
Post-college life was tough for Sidney (Neve Campbell) as she moved away from her friends and family to live in a house deep in the woods with her dog. Who could blame her for being traumatized after a masked killer, or killers, exhibited a fixation for murdering those she was closest to? “Stab 3: Return to Woodsboro,” a successful horror franchise, was in production in Los Angeles but the actors were attacked and killed by Ghost Face. It seemed like the killer’s plan was to murder the actors in which they died in the movie in order to attract Sidney’s attention and come out of hiding. The two obviously had issues to resolve. There was only one problem: Sidney, Gale (Courteney Cox), and Dewey (David Arquette) had no idea which script Ghostface had in hand because three versions were written. It meant there were three different order of kills and three different endings. Still directed by Wes Craven but the screenplay helmed by Ehren Kruger instead of Kevin Williamson, “Scream 3” had potential for excellence but the execution was too weak to generate enough tension to keep me interested. What I enjoyed was Sidney, Gale, and Dewey’s doubles (Emily Mortimer, Parker Posey and Matt Keeslar, respectively) because they were exaggerated versions of the real ones. What I didn’t enjoy as much was they weren’t given very much to do other than waiting to die in a gruesome fashion. And while the material played upon the actors’ self-centeredness despite being second- or third-rate celebrities, it didn’t tell us anything we didn’t already know. What made the first two movies so enjoyable was the fact that the comedy and horror were connected in a smart way. In here, the material relied on spoiled celebrities as a source of comedy and Ghostface’s hunt for Sidney as a source of horror. Since the two failed to connect, the script felt painfully stagnant. I wondered where the story was ultimately heading. Furthermore, the chase-and-stab formula became less exciting over time. It was awkward how the film would stop in the middle of the suspense and cut into a less exciting scene. In doing so, the scares lost considerable amount of momentum. And when it finally decided to return to the murder scene, it just looked silly and gruesome. It began to feel like a standard slasher flick. “Scream 3” still winked at itself, like the villain in a trilogy becoming seemingly superhuman, but it lacked the edginess combined with other necessary elements to bring the movie to the next level. It just didn’t feel fresh anymore. When the unmasking arrived, I just felt apathetic. It’s not a good sign when you’re looking at the clock every other scene to check the remaining minutes you have to sit through.
★★ / ★★★★
A baby orphan snuck into Santa Claus’s bag of presents and ended up in the North Pole. The baby was named Buddy and raised by Papa Elf (Bob Newhart) and whole-heartedly embraced by the elfin community and strange creatures that lived there. But when Buddy became an adult (now played by Will Ferrell), he became more of a nuisance to the elves due to his size so he traveled to New York City to find his biological father (James Caan). The movie started off with promise because it was creative with its joke about a man who was so out of his element but was blind to the fact. Even more amusing were Buddy’s scenes with people in utter disbelief that he actually believed in Santa Claus with fervor to spare. Ferrell did a wonderful job playing a wide-eyed boy stuck in an adult man’s body. The slapstick comedy worked because kids like to put themselves in physically uncomfortable situations. However, the film failed to reach an emotional peak and establish a resonance like the best movies that took place around Christmas. While Ferrell’s interactions with Caan were amusing, I didn’t feel a genuine connection between the father and the son. When the son hugged with enthusiasm, the father reluctantly put his arm around his son to pat him on the back. There was no real growth between them. Too much of film’s running time was dedicated to the biological father’s challenges at work (which did not add up to much) instead of focusing on the problems at home (Mary Steenburgen as the very accepting wife was a joy to watch). I wish there were more scenes between Buddy and a salesgirl who loved to sing named Jovie (Zooey Deschanel). Farrell and Deschanel may not have chemistry (the film unwisely pushed their relationship to a romantic direction), but watching their friendship grow put a big smile on my face. Jovie always looked sad (which was ironic because I’m assuming her name came from the word “jovial”) and did not like to put herself in potentially embarrassing situations. Buddy was all about attracting all kinds of attention. Nevertheless, they got along swimmingly. While the majority of the film was about Buddy’s attempt of reconnection with the human world, the last twenty minutes was more about people believing in Santa Claus. I was left confused and I thought it was completely unnecessary. Perhaps the filmmakers thought that typing up dramatic loose ends was riskier than generating more pedestrian laughs. I thought the last few scenes were a desperate attempt to cover up weak storytelling. Directed by Jon Favreau, “Elf” had its share of funny and silly moments but its story needed a lot of work. Maybe the elves should have worked on the script so it could have had a bit of magic.
Men Who Stare at Goats, The (2009)
★★ / ★★★★
After being recently heartbroken, Bob Wilton (Ewan McGregor) decided to go with a self-proclaimed psychic-soldier-slash-Jedi-warrior (George Clooney) to Iraq so that he could publish a mind-blowing story and prove to himself that he was not a loser. However, Wilton quickly realized that maybe the man he was with was just a charlatan and there really was no compelling story that could be written. Adapted from Jon Ronson’s book and directed by Grant Heslov, “The Men Who Stare at Goats” was certainly not as bad as people claimed it was upon its release because the satire involving American soldiers and reporters worked on some level. Given the strange material, I thought it was refreshing even though some of the jokes didn’t quite work and the story could have been more focused. For me, I’d rather watch something that takes a lot of risks even though it doesn’t work rather than watch something typical that only occasionally works. I found the scenes with McGregor and Clooney the least interesting part of the film. I wanted to know more about Clooney’s experiences in the paranormal sector of the army in its early days (during the war in Vietnam), the person he greatly looked up to (Jeff Bridges), and his rival (Kevin Spacey) who would do anything to be the best. Even though the things they did were undeniably weird such as trying to defeat the enemy with friendship, flowers and the like, I was interested in the characters because they had great conviction in what they were doing. Personally, I think what the characters tried to do were not that extraordinary because there were times in history when other countries turned to paranormal studies (like mind control and science verging on the extremes like trying to bring people back to life) to remain one step ahead of their enemies. But it’s understandable that not many people liked the film because not everyone understands satire and some of the humor was dry and deadpan. Maybe if the picture tried to connect more with the audience, the audience would have liked it more. The movie also didn’t feel like a hollistic project but a series of scenes that were quirky which didn’t add up to anything substantial. Acting-wise, I thought everyone was consistently strong, especially Clooney. Despite his character’s goofiness, somehow I believed in his wild stories and got the feeling that he was much smarter than he let on. “The Men Who Stare at Goats” was a cerebral experience more than anything and it would appeal most to those willing to read between the lines. Commentaries such as politics, war and duty were abound but they were far from obvious. Ultimately, I’m glad I gave this movie a chance.
★★★ / ★★★★
Even though this action movie is beyond silly, I really enjoyed it because I was entertained all the way through. Jason Statham stars as a hitman who one day wakes up and finds out that the people who he used to work with put poison in his veins. The only way he can slow the poison down is to keep finding ways for his body to make adrenaline. Being a Biological Sciences major, I was really amused when one of the doctors described to Statham what he must do in order to live. Surprisingly enough, especially for such a silly movie like this, the explanation regarding epinephrine and the blocked receptors explanation made sense. (I want to go into more scientific details about this but I will restrain myself.) I thought it was hilarious how Statham’s character kept finding atrocious ways to keep his adrenaline going: chugging down bottles of cough medicine, purposely burning himself, or just moving really aggressively while using music as a cue. But my favorite has got to be that scene in Chinatown when he and his girlfriend (played with such a breath of fresh air by Amy Smart) had sex in public. As crude as it was, it was done in such a bona fide manner so I couldn’t help but laugh. I also thought that Jose Pablo Cantillo as the villain named Verona was pretty effective. Eventually, we learn that he’s not as tough as he tries to be; I really enjoyed the scenes when Statham would tease him as being a sissy because of Cantillo would have such an over-the-top reaction. I also enjoyed the gay jokes even though some of them were really offensive because it managed to fuse some sort of homoeroticism in its characters. (Something that is not unfamiliar with Statham’s movies.) The only thing I didn’t like about it was the objectification of women. Directed by Mark Neveldine and Brian Taylor, “Crank” may not be the best of anything but I was pleased that it embraced everything that it could manage to work with. For a running time of about eighty-eight minutes, I felt like the film used every single minute to provide escapist fun for its audiences. On that level, it more than succeeds.
Mamma Mia! (2008)
★★★ / ★★★★
I thought I would dislike this movie because I’m not a fan of musicals nor am I a big fan of ABBA (even though I’m familiar with some of their songs). What saved and (surprisingly enough) elevated this picture is its sheer enthusiasm to entertain its audiences. It’s not afraid to be silly or too light or even feature some bad singing. It takes a lot of courage from the director (Phyllida Lloyd) and writer (Catherine Johnson) for the film to embrace its inconsistencies, flaws, and logic so I must commend them for it. Even though the film is full of stars such as Amanda Seyfried and her three potential fathers (Stellan Skarsgård, Pierce Brosnan, Colin Firth), the actors that truly shine are Meryl Streep (as Seyfried’s single mother) and her two best friends: Julie Walters and Christine Baranski. As the three older women in the film, they managed to single-handedly make me smile and laugh whenever they’re on screen. I love the fact that the director was not afraid to show the actresses’ aging bodies. I mean this in a good way because most films try to hide qualities of someone’s body that don’t fit “the norm.” In this movie, flaws are very welcome and even celebrated. Even though I thought that the characters could’ve solved the identity of Seyfried’s father in the first five minutes by taking a paternity test, if they hadn’t dragged it out, there would be no movie. Plus, musicals are not to be taken seriously; the genre’s aim is to simply make someone feel good. As for Seyfried, I think she’s a star. From the moment I saw her in “Mean Girls,” I knew she would be a celebrity and I think she has a bright future ahead of her if she continues to choose different but rewarding roles. I must also commend Streep for impressing me once again. She has such a well-rounded repertoire and she’s quickly becoming one of my favorite actresses as I see more films. In here, she’s wounded but strong, not to mention that she has a great singing voice. The best scene has got to be when she sang “The Winner Takes It All” on a cliff with Brosnan. She did it with such passion to the point where it gave me goosebumps and realized that I could 100% identify with her character even though we’re completely different. I expected to dislike this movie but I was glad to be proven wrong. Yes, most people will completely dismiss this film by pointing out its flaws. But I think it’s deeper to appreciate it for its flaws especially when it made a person feel good by the end of the day.
Smiley Face (2007)
★★ / ★★★★
This movie is a smogasboard of cameos ranging from the most familiar names and faces–Adam Brody, John Krasinski, John Cho–to those whose faces are familiar but their names give us a hard time recalling–Jayma Mays, Marion Ross, Rick Hoffman. But this movie would’ve been a complete mess without Anna Faris. She once again proved to me–twice to this year along with “The House Bunny”–that she can elevate an average movie into a pretty good one. For me, Faris is like Steve Carell: both can stand in one place and not do anything but they never fail to make me laugh out loud. I was shocked when I found out that Gregg Araki directed this stoner comedy. It’s the complete opposite of the moody, serious, and masterful “Mysterious Skin.” What I like about this film is that it’s so random and pointless to the point where it got me thinking. I know it may sound weird but I thought this picture had something to say about the way we live our lives; how random it is, how things don’t quite go the way we expect them to be. When such disappointments happen, we may feel angry or sad or both, but by the end of the day, we should just be thankful that we’re alive–that we are able to feel these emotions and (possibly) learn from our experiences. Araki really shows his talent during some silent but exquisite scenes, especially that one scene when Faris was sitting on the beach, facing the wind and the sand as the sun sets. I’m really glad that a friend recommended this to me (he’s a big Anna Faris fan) because I decided not to add this movie to my Netflix upon its release since the premise sounded lame. Yes, it’s stupid and can go in a million different directions, but I learned to embrace its positives. It’s funny, the performances are pretty good (especially Faris), and strangely thoughtful.