Princess Mononoke (1997)
★★★ / ★★★★
When a spirit that guarded the forest had turned into a demon, in a form of a giant boar, threatened to attack a small village, Prince Ashitaka (voiced by Billy Crudup) killed the suffering spirit. But Ashitaka did not leave the battle unscathed. The demon managed to touch his arm and put a curse on him. One of the wise men from the tribe claimed that there could be a possible cure out in the West. However, if Ashitaka left the village, he could never return. “Princess Mononoke,” written and directed by Hayao Miyazaki, was branded by fans and critics as a classic. I don’t believe it was as strong as it should have been. While I admired that it used animation not just as a medium to entertain younger children, personified by gory beheadings and limbs cut into pieces, its pacing felt uneven and the way story unfolded eventually became redundant. There was a war between guardians of the forest, led by a giant white wolf named Moro (Gillian Anderson), and humans, led by the cunning Lady Eboshi (Minnie Driver). The spirits were angry because men cut off trees and killed animals for the sake of excavating valuable iron. If the forest died, the spirits, too, would perish. Ashitaka’s stance was the middle, the one who we were supposed to relate to, and it was up to him to try to bring the two sides together. While I appreciated that there was an absence of a typical villain because the characters’ motivations were complex, there were far too many grand speeches about man’s place in the world versus man’s right to do whatever it took for the sake of progress. As the spirits and humans went to war, the story also focused on the budding romance between Ashitaka and San (Claire Danes), a human that Moro brought up as a wolf. It was an unnecessary appendage because the romantic angle took away the epic feel of the battle sequences. Just when a battle reached a high point, it would cut to Ashitaka wanting to prove his love for the wolf-girl he barely knew. The high point, instead of reaching a peak, became an emotional and visual plateau. It wasn’t clear to me why Ashitaka would fall for someone like San, who was essentially a savage being, who claimed that she hated humans, and who considered herself to be a wolf. There was a painful lack of evolution in their relationship. Did San eventually feel like she was more human than animal after spending more time with the cursed Ashitaka? What was more important to our protagonist: being with the girl he loved or the lifting off the curse so that he could continue to live? The deeper questions weren’t answered. Nevertheless, I wouldn’t deny that “Mononoke-hime” maintained a high level of imagination throughout. I especially enjoyed the adorable kodamas, spirits that lived in the oldest trees, with their rotating heads and confused expressions. If it had found a way to focus more on the big picture, without sacrificing details and actually offered us answers, it would have been a timeless work.
Paranormal Activity 2 (2010)
★★ / ★★★★
A family of four, led by Daniel and Kristi (Brian Boland and Sprague Grayden), decided to set up cameras all over the house because they believed someone vandalized their home while they were on vacation. Several days after the cameras were set up, the family reviewed the recorded images and started to notice strange things like objects moving by themselves. We observed baby Hunter (played by William Juan Prieto and Jackson Xenia Prieto) focused on something while in his crib in the middle of the night. Ali (Molly Ephraim), the eldest child, initially thought it was cool that the house was haunted so, along with her boyfiend (Seth Ginsberg), they tried to communicate with the spirits using a Ouija board. That’s never a good idea. “Paranormal Activity 2,” directed by Tod Williams, had a solid rising action. It was similar to its predecessor, directed by Oren Peli, because it managed to convey chilling images by showing very little. For instance, when the mother started hearing noises in the baby’s room and found that the weird noise wasn’t there, she headed to the connecting bathroom. Then something small would move near the crib. It obviously wasn’t the wind because the doors and windows were shut. When the mother returned to the room, the object ceased to move. It was scary because it defied physics. A moving object can’t abruptly stop moving without some force acting against it. Micah (Micah Sloat) and Katie’s (Katie Featherston) return worked in some ways. Their appearance reminded me of why I enjoyed the first picture so much. They had good chemistry and their interactions were playful and amusing. But when the film started to weave in and explain how Micah and Katie’s story was related to the family in question, it felt forced. It began to feel like I was in a room watching a home movie and the writers were next to me as they attempted to write the script using a loud typewriter. It lacked believability. Once the kitchen cabinets and drawers were flung open at the same time, it was downhill from there because it wanted to increase the ante. But it didn’t need to. I missed the amusing scenes when Martine (Vivis Cortez), the family’s nanny, believed the house was haunted so she tried to let the good spirits inside using various incense and prayers. I also thought it was funny when Ali “researched” haunted houses and seemed to believe everything she read on the internet. The boyfriend just smiled because he knew how silly it was. It was simple, but I think it worked as a commentary for the young and not-so-young’s dependence on computers when we desperately need information. “Paranormal Activity 2” had some good scares and uncomfortable (but fun) chuckles as byproduct of stress (or fear) but it offered nothing new.
The Spirit of the Beehive (1973)
★★★ / ★★★★
Considered as one of the most important Spanish films, “The Spirit of the Beehive,” written and directed by Victor Erice, tells the story of a little girl named Ana (Ana Torrent) who, after watching the 1931 version of “Frankenstein” and being told by her sister named Isabel (Isabel Tellería) that his spirit exists, goes off to find a real-life monster. I really admired this film because the use of words was minimal yet it was more than able to convey what the characters were thinking and feeling. It truly captured how childhood was the peak of curiosity and how our perception at that point in our lives may be a bit skewed from reality. The way Ana and Isabel tell stories, play games and tricks on each other reminded me and my brother many years ago. I also liked the broken relationship between a husband (Fernando Fernán Gómez) and a wife (Teresa Gimpera). Little do they know that no matter how much they try to interact with their daughters separately (or not interact), the children feel that there’s something wrong even though they do not yet know how to tackle such feelings. The awkward scene at the table when the whole family was eating together was somewhat elusive because I noticed that there was not a frame in the film that each of the family member was in. I think that divide between the two parental figures was another reason why Ana decided to plunge into her own imagination as an escape. The scenes in their big mansion of a home were painful for me to watch because there was a very noticable lack of stimulation such as books and toys for the two children. At least for me, they looked more alive when they were watching a movie in the town, while they were at school, and when they were roaming around outside. This is a very strong motion picture that should be seen by movie-lovers everywhere. However, one should be warned that it requires a lot of patience because it may get a bit slow at times due to the lack of happenings in the small village that they live in. Nonetheless, it’s a rewarding experience because it works on several angles, cinematically and psychologically.
The Haunting in Connecticut (2009)
★★ / ★★★★
I was surprised by how much this film was grounded in reality even though the trailers sold it off as a typical “based on a true story” demonic possession. Virginia Madsen and Martin Donovan star as the parents who choose to move in a house with a creepy history because their son’s (Kyle Gallner) cancer treatment facility is nearby. It’s not long until spirits start to get themselves known to Gallner’s character in truly horrifying manners. I really admired the first thirty minutes of this horror flick because things that most people would consider as supernatural are things that can happen to cancer patients going through various therapies (i.e. hallucinations). I wish Peter Cornwell, the director, decided to keep straddling the line between science and the supernatural because it’s very reminiscent of “The Exorcist.” To me, the closer a horror film is to reality, its resonance after I leave the theater is amplified many more times as opposed to a horror movie that’s so unbelievable to the point where it loses its power. Unfortunately, this movie is the latter. Another frustration that I had with it was the film’s use of soundtrack to cue that something terrifying is happening on screen. I was really taken out of the moment whenever the soundtrack would be heard; most of the time, I don’t like outside cues to tell me how I should be feeling especially when the obvious is being shown on the screen. Its scares would’ve been more effective if there was less jarring creepy sounds–let the creaks of each footstep or a body hitting furnitures do all the work. After all, this is a horror film about a house with a questionable past (in the least) so the-less-the-better technique could’ve done wonders. As for its acting, I thought everyone did pretty good but I felt like Gallner was holding back. I’ve seen him in several television shows and movies so I know that he could’ve done more. Still, “The Haunting in Connecticut” had three or four solid scares so I’m giving it a mediocre rating. However, it would’ve been so much better if the booming soundtrack during scares was kept at a minimum or was not integrated at all.