★★★ / ★★★★
Fourteen-year-old Annie (Liana Liberato) had a sixteen-year-old online friend named Charlie. The two had been talking for two months, bounded by their interest in volleyball, and Annie felt like they were close. While Annie’s parents (Clive Owen, Catherine Keener) dropped Peter (Spencer Curnutt), Annie’s brother, off to college, Annie agreed to meet with Charlie at the mall. But Charlie (Chris Henry Coffey) turned out to be at least thirty-five years of age. Written by Andy Bellin and Robert Festinger, “Trust” was a fearless look at a young victim of an online sexual predator and how her life was changed forever. I was glad it didn’t shy away from difficult images in order for the material to be more digestible. We read Annie and Charlie’s chat transcripts and heard their telephone conversations. We saw the way naive Annie was carefully lured by a full-grown man into a motel room. We even caught a glimpse of Annie’s abrasions when a hospital staff was running a rape kit. The director, David Schwimmer, wanted to make a point: There is no shame in talking about serious and important issues like rape and other forms of sexual assault. However, the film wasn’t as focused as it should have been. Annie’s father, Will, felt like the FBI’s investigation, led by Special Agent Tate (Jason Clarke), was going too slowly. He wanted answers and he wanted it now. So he tried to pose as a teenage girl online in order to lure pedophiles around the area. That would have been interesting if the story was about revenge. But it wasn’t about vengeance. The film was about a tragedy and the pain of those affected. When the camera remained still and allowed the characters to speak what was on their minds, it was totally devastating. Like any other teen, Annie was curious about love, sex, and whatever was in between. She wanted to know how it was like to have a boyfriend and have sex for the first time. The director did a good job in letting us know who Annie was and what was important to her. So, after everyone found out that she had been assaulted, when Annie felt the need to defend Charlie’s actions, though we surely would not agree, we had a rudimentary understanding of why she adopted such a stance. There was one excellent scene where the father confronted his daughter about what had happened to her. It stood out because the father asked questions and gave comments that I wanted to ask and say to her directly. Although it was necessary that everyone remain sensitive to her plight, I felt as though a bucket of bluntness was needed to shake her into believing that she wasn’t to blame and it was okay to want to move on. “Trust” was right to offer no easy solution. Although the ending might frustrate certain viewers, it was appropriate because each case varies like an unknown pandemic without a cure.
★★ / ★★★★
“Les égarés” was set in World War II as Germans began to occupy France in 1940. Odile (Emmanuelle Béart) and her children (Grégoire Leprince-Ringuet and Clémence Meyer) were caravanning across the provinces when they were targeted by German planes. Pressing forward would most likely lead to death so, along with a seventeen-year-old Yvan (Gaspard Ulliel), the four darted into the forest and found refuge in an abandoned home. “Strayed” was a simple film driven by questions. Should we trust Yvan despite the fact that he was a compulsive liar? Since he was so good at lying, how much did he really care about the family of three? Was it possible that Odile suspected that there was something not quite right about him to the point where she found the need to grab the first opportunity to hide the stranger’s gun and grenades? Was she scared of him losing control more than the Germans finding them? There were a plethora of questions and most of them were answered by the end. But the main problem with the film was if the viewers failed to look beyond the obvious and ask questions, they would feel as though the movie was pointless. The majority of the running time followed the characters catching animals for food, having lunch or dinner, discussing what they should do the next day, and reflecting about the lives they left behind. There was sexual friction between Odile and Yvan. The latter wasn’t afraid to acknowledge it. After all why would he when he was a teenager filled with raging hormones? There was no doubt that Odile, highly attractive for her age, was interested in Yvan but she felt like being with him was wrong because he was essentially still a child. Even Yvan admitted that he was more about taking action than taking the time to think things through. His transitory age was a template for his childish and child-like tendencies to collide, reflective of the Freudian id–“If it feels good, do it.” Another interesting part was Odile’s children. There was a strange scene when Cathy, still around seven or eight years old, decided to climb onto Yvan’s bed, who was naked under the covers, and claimed that she wanted to get pregnant. How did she know of such a concept? Less obvious implications consisted of Philippe constantly wanting to gain Yvan’s acceptance. Did Philippe see him as a brother, a father, or something else? Perhaps Odile’s overprotective parenting was successful at keeping the children alive, but the more important question was will they be able to function after the war was over? Again, it was up to us to ask the questions and, in some ways, answer them as well. Based on a novel by Gilles Perrault and directed by André Téchiné, “Les égarés” had a rather simple premise but it was challenging in the most unexpected ways. That challenge could appeal to some while others could be repelled.
★★★★ / ★★★★
Based on a book by Nicholas Pileggi, “Casino” was about a casino owner (Robert De Niro) and his childhood friend who worked for the Mafia (Joe Pesci) whose bonds were tested on three fronts: their personal relationship, their businesses and a prostitute (Sharon Stone) with a penchant for money and power. But that’s only the surface of this deeply layered film expertly directed by Martin Scorsese. It was a strange feeling because although I found the film to be really complex in terms of how connected everyone was and how malleable their loyalties were, there were times when I thought it did not have a story. I felt like I was dropped into these characters’ lives and I was forced to watch their lives unfold from the 1970s until the 1980’s. The acting here was top-notch: De Niro had this suave swagger going on, Pesci was dangerous but there was something about him that I could not help but like and Stone was the kind of character who one could not help but hate. The way the three collided was very fun to watch because there were times when, like in Scorsese’s “Cape Fear,” everything was so exaggerated to the point where it was borderline amusing. I was absolutely in love with the script because, through narration, the characters were able to provide insight about their work and the decisions they made despite the fact that they knew they were going to regret it in the long run. I felt like the characters were actual people instead of just cardboard caricatures. Almost everything about this film was big: the ideas, the dark undertones, the dynamics of marriage and friendship. But I loved about it most was that it was able to analyze Las Vegas as one of the most glamorous places in the world but at the same time one of the ugliest places in the world. The way Scorsese played with that duality was fascinating to me because not only did he apply it as a metaphor for the characters, I think he pointed the finger at us–how out brilliant ideations do not always coincide with the grimy actualities. I also enjoyed how Scorsese viewed corruption as an almost necessary survival instinct for one to thrive in Las Vegas. Its three-hour running time was definitely a challenge (I took a break somewhere in the middle) but once I was hooked, I could not help but absorb it all. Some argue that picture was way too long and got bogged down by the marriage drama that pervaded the second half. I couldn’t disagree more because De Niro’s character deeply valued trust. I thought the second half made the movie that much richer because I understood him a bit more, given that we got to see him outside of the casino. That second half also gave us a chance to see De Niro and Pesci collide outside of the business world onto a more personal arena. Fans of Scorsese definitely should not miss this project because I think it’s one of his best. I only wish I had seen it sooner.
Far from Heaven (2002)
★★★ / ★★★★
Written and directed by Todd Haynes, “Far from Heaven” was set in the 1950s somewhere in the suburbs of Connecticut. Julianne Moore played a housewife who had to deal with two big problems: her husband’s (Dennis Quaid) affair with another man and the community’s distaste in relation to her friendship with an African-American (Dennis Haysbert). Moore played her character with some composure yet remain very complex which was reflected on how she acted when society was peering over her shoulder and when she was with someone who she truly trusted. For me, Moore carried this film all the way through and if I did not feel as connected with her, I probably would have been more unforgiving with this picture because it did at times borderline the Lifetime route. I loved the way the film highlighted the vibrant colors of the houses, the decorations and the clothing yet the script was about the hatred of one’s self and most of society’s passive agreement to inequality. I also loved the fact that even though Quaid was a homosexual struggling to come out of the closet, I didn’t sympathize with him because of the way he used his wife as a crutch time and again and dismissed his children when they enthusiastically greeted him from a long day’s work. There was something about him that I thought was just ugly and selfish. Despite his hardship, the way he treated others was uncalled for. Violas Davis played the housekeeper and I wished they used her more because she really made the best of the scenes she was in. There was something very warm about her and I wanted to get to know her character more. The same goes for Patricia Clarkson as Moore’s best friend and confidante. The element that prevented me from loving this picture was its inconsistent pacing. The first and last twenty minutes were fascinating but the story somewhat dragged on in the middle. Deep in the film, the moments I enjoyed most were when Moore and Quaid really showed their range in acting by arguing not in an in-your-face manner like in Leonardo DiCaprio and Kate Winslet in “Revolutionary Road,” but in a quiet, almost maddeningly suffocating way to the point where you just wanted to scream for the characters. After all, it was the 1950s and everybody had this idea of perfection regarding how to be a “proper” family in the judging eyes of others, how to act like a “proper” wife, and how to act like a “proper” friend. Half-way through the film, I started realizing that I would never have survived in the 1950s because everything was just so repressed. That’s why I think this film ultimately succeeded: it managed to capture that era not just in terms of clothing and set design but, most importantly, the varying mindsets of its characters.