House of Games (1987)
★★★ / ★★★★
Despite her many successes in her career, a psychiatrist named Dr. Margaret Ford (Lindsay Crouse) felt like something was missing in her life. She had her routine at work but at the end of the day she wondered if she was even alive. A void was inside her was increasing in size and she didn’t know how to fill it up. When a patient with a gambling problem confessed to her that he’d be killed if he didn’t come up with the money the next day, she went to a bar and met Mike (Joe Mantegna), the man who supposedly would murder her patient. Being next to him, she felt instant attraction. And when she found out about his occupation, she felt excitement–something that helped to cure the emptiness inside her. The film’s greatest weapon was its script. Every time the characters would speak, I was drawn to them because they were intelligent but ultimately wounded. The camera would move with jurisdiction whenever there was a subtle change in tone so I was always curious with what was about to transpire. After many twists involving several cons, I tried to stay one step ahead of the material just as the characters eventually tried to outsmart each other. The filmmakers had fun with the material because there were times when I thought a twist would occur but it simply didn’t. There were other times when my hypotheses were correct. Furthermore, I was surprised how exciting it was even though it lacked car chases and explosions, elements that are easily found in movies like this one. Instead, the picture focused on the characters and how the dynamics between them changed drastically with a slight of hand. As much as I liked the heist scenes, I found Dr. Ford’s compulsions to be most disturbing and haunting. The way the darkness in her moved from her thoughts to her actions made me feel very uncomfortable. The scary thing is that I found a bit of myself in her. I’m a perfectionist and I love my routine. I love being around people and working with them but sometimes I wonder if it’s really worth it. Like her, there are times when I feel the need to do something completely out of character because constantly trying to have everything just right had become trite and painfully boring. In other words, sometimes I feel like the law doesn’t apply to me because I’ve been a model citizen. Written and directed by David Mamet, “House of Games” was a psychological thriller that worked in multiple levels. Its subject matter directly and astutely commented on human nature and how our behavior could sometimes define us.
★★★ / ★★★★
Sidney Bruhl (Michael Caine) had a dark ideation. Once a successful playwright but now struggling to keep up with his reputation due to his recent flops, he came across a manuscript written by one of his former students named Clifford Anderson (Christopher Reeve). Sidney invited unsuspecting Clifford to visit his home in order to offer some advice to make the play better, murder him, and pass Clifford’s work as his own. Sidney’s wife (Dyan Cannon) had heart problems in the past but she reluctantly went along with her husband’s devious plan. It took a bit of time for me to get into this film. At first I thought the plot didn’t quite know how to move forward. I also had some problems with its tone. Did it want to be funny or thrilling or both? I wondered, could it have its cake and eat it, too? I also found the acting a bit amateurish, especially Cannon. I was aware that the picture was based on a play written by Ira Levin but her acting felt stuck in that medium. I thought she was annoying, whiny and needy–a damsel-in-distress who stuck by her husband for no good reason. However, after about forty minutes, it gained its footing and the material showed me it had intelligence. Very unexpected twists upon twists were abound but what I liked best about it was it felt like a play but it gained enough power to work in a cinematic medium. The tension became so high to the point where the exaggerations almost felt necessary. Caine impressed me because I’m used to watching him play quieter characters that are almost grandfather-like and humble. It was a breath of fresh air to see him so bitter, so angry, so flawed. His character caught my attention because it was the kind of character that valued his reputation more than anything else. He talked of sociopaths which made me wonder if he was projecting his own characteristics onto someone else. Sidney Lumet, the director, astutely used mood as a weapon to surprise the audiences. At times watching the film was like reading a novel. Just when I thought the picture was over because the mood was reaching a serene plateau, it suddenly came to life and delivered shocking punches. In less experienced hands, it might have felt too contrived or forced. Lumet’s direction certainly helped the sudden shifts in mood to feel as natural as possible. “Deathtrap” did not start off with flying colors but it is difficult to deny that it was a sublime murder mystery once it found a connection with its core. Fans of Alfred Hitchcock’s slow but compelling thrillers should eat this one up like candy.
Village, The (2004)
★★ / ★★★★
The first time I saw M. Night Shyamalan’s “The Village” back in 2005, I didn’t like it because I thought it was too strange for its own good and the pacing was too slow. I’m happy to have given it more than one chance because I thought it got better upon multiple viewings. The story involved a small village terrorized by creatures in the woods. For some odd reason, skinned animals started appearing in greater numbers but the leaders of the village (William Hurt, Sigourney Weaver, Brendan Gleeson) had no idea what they have done to anger the creatures. As the younger residents (Bryce Dallas Howard, Joaquin Phoenix, Adrien Brody, Judy Greer, Michael Pitt) lived a life of relative bliss thanks to the secrets they have not yet discovered, chaos started destroy the village from within until a blind girl, played by Howard, went on an important quest through the feared woods. I thought the second half of the movie was stronger than the first half. While the first half had the bulk of the story, I constantly waited for small rewards that would keep me glued to the screen until its climax. Unfortunately, those small rewards did not deliver so I felt like the story could have gone in any direction. I questioned whether it wanted to say something about the specific group of people in relation to the environment they built for themselves or if it wanted to be a psychological-supernatural thriller. The lack of focus lost me. Fortunately, the second half was when everything started to come together. I’ll try not to give anything away but I enjoyed the way Shyamalan incorporated the reality and the supernatural. Specifically, when Howard went into the woods and encountered something she did not at all expect. There were twists on top of another and it made me think without feeling any sort of frustration which I think is difficult to accomplish. The scenes in the woods were beautifully shot but at the same time the beauty was sometimes masked in an ominous feeling of dread and anticipation. I can understand why a lot of people would consider “The Village” one of Shyamalan’s worst projects especially if they’ve only seen the movie once. The pacing was indeed quite slow and there were a plethora of questions with open-ended answers concerning the characters’ histories and the multilayer mystery surrounding the village. However, the second half piqued my interest (even though I’ve seen it before) and I thought it was very well done without overdoing the twists. At its best, “The Village” is imaginative and unafraid to take risks; at its worst, “The Village” is a bit insular and may drown in its own vanity.
Jackie Brown (1997)
★★★★ / ★★★★
Jackie Brown (Pam Grier) was a flight attendant caught by two detectives (Michael Keaton, Michael Bowen) when she tried to smuggle money into the country. However, she was not arrested because they knew that she worked for an arms dealer named Ordell Robbie (Samuel L. Jackson) and they wanted him more than they wanted her. Realizing that she nothing else to lose considering her age and her prior conviction, she constructed a plan that might lead to her freedom from the police and her cruel boss. “Jackie Brown,” adapted from the novel “Rum Punch” by Elmore Leonard, was an intelligent film which was highly unpredictable because of its constantly scheming characters. I admired the way Quentin Tarantino put his stamp on the project in terms of building tension and delivering truly rewarding pay-offs. Despite the violence and rapid-fire tough guy dialogue, it was ultimately a human story. I loved the way it took moments of silences and allowed us to guess what the characters were thinking and the manner in which they strategically reevaluated their priorities. With these specific characters, as sad as it was accept, sometimes money was more valuable to them than their lives. Tarantino juggled the characters with elegance. He was smart enough to make a film that was longer than two-and-half hours but not wasting a single minute. I thought it was pleasure to watch because I learned something new about each character in each scene. The most complex of them, except for the lead, was Max Cherry (Robert Forster). He was the most difficult for me to read and I did not find out until the very end what his real intentions were toward Jackie. Was he just pretending to be a friend because he wanted the money for himself or did he genuinely care about the woman he bailed out of jail? And even if it was the former, I can understand why he might choose to do it because I saw him as this lonely person who, despite the thousands of people he bailed out of jail, no one really cared for. He was a person defined by his occupation and not those who loved him for just who he was. “Jackie Brown” is one of Tarantino’s lesser-known works but I think it is one of his best. I loved that the picture was uncompromising, suspenseful, and surprisingly warm in the smallest dosage. I was engaged throughout its running time because in Tarantino’s world, the heroes (or anti-heroes) do not necessarily have to survive. And I was desperate to see the brave Jackie Brown make it through the tricky spider webs she weaved for herself.
Remember Me (2010)
★ / ★★★★
Robert Pattinson stars as Tyler who had issues with dad (Pierce Brosnan) because Tyler still blamed him for his older brother’s suicide. Tyler also believed that dad did not spend enough time with his daughter (Ruby Jerins), a very gifted budding artist who was often bullied by other girls in her class. However, life started to get a little brighter when Tyler met Ally (Emilie de Ravin), the daughter of a cop (Chris Cooper) who unfairly arrested Tyler the night before. I would have liked this film more if it had stuck to being a typical romantic drama about finding, losing and regaining romance. Instead, it pulled a ridiculous “twist” in the end that was totally unnecessary which, I have to admit, made me feel angry and emotionally cheated. I’ve read other reviews and others seem to have been moved by the final act because they claimed it was “shocking” or “revelatory.” I thought it was pretentious and it was done for mere shock value. It was unfortunate because I actually enjoyed this picture in parts. I loved how Tyler was an active role model in his sister’s life. He always gave her support and I felt his pain for losing his older brother who he obviously looked up to. He was often histrionic whenever his father was around but I understood where the anger came from because the father was a workaholic and it seemed like he did not want to spend time with his children. Tyler was blind to the fact that the job was his father’s defense mechanism. The personal struggles of the characters interested me even though at times the story was somewhat unfocused. It had too many subplots which was comparable to a pretty good two-hour pilot of a television show. I know that the shocker of an ending aimed to comment on the consequences of reconnection happening too late in the game and that we should be willing to forgive others but it was too heavy-handed for my liking. The performances were fine: Pattinson, unsurprisingly, was good at brooding and was able to deliver intensity (accompanied by glares) when required, I felt Brosnan’s coldness and charm at the same time, and de Ravin was precocious. The only one I found to be truly annoying was Tate Ellington as Pattinson’s roommate. His voice was not the kind of voice I would like to wake up to in the morning. In the end, “Remember Me,” written by Will Fetters and directed by Allen Coulter, was crushed by its own ambition. It was not aware of the line between true emotional impact and exploitation. The former is earned while the latter is not.
★★★ / ★★★★
I have no idea why critics didn’t like this movie. I feel like they all read one really good negative review and they all jumped on the bandwagon. “Surrogates,” directed by Jonathan Mostow, was set at a time when humans could simply purchase a robot and use it as a surrogate to do whatever they wanted via a machine invented by Dr. Canter (James Cromwell). For years, everything was fine until an assassin killed the son (through his surrogate) of Dr. Canter using an advanced weapon. This immediately became a problem because people always thought that there was a fail-safe designed to protect them in the comforts of their homes. Agent Greer (Bruce Willis) and his partner Agent Peters (Radha Mitchell) were assigned to find out who the murderer was, what kind of weapon he had and who hired him. But that was just the surface of the mystery. I couldn’t help but compare this film to the dreadful “Gamer” because it basically had the same concept: living one’s life through another whether that particular “another” is sentient or not. I think “Surrogates” is far superior because it looked like it was set in the future, it brought up interesting questions about the difference between consciousness and actually living one’s life, there was a sense of urgency from beginning to end and it was actually entertaining without surroundering to the depravity of violence. I loved that the writers (Michael Ferris, John D. Broncata) chose to show us how Willis’ character was like when he used a surrogate (near the beginning of the picture) and how he was like without his surrogate (the majority of the picture). Making Willis’ character aware of the wrongness of the whole surrogacy situation (especially the scenes with his wife who’s addicted to using her much younger surrogate) and that he was capable of being hurt out in the world full of robots made us root for him. The action and chase scenes were surprisingly effective because the film constantly played on the suspense instead of just giving us one mindless explosion after another. There were also some very neat scenes that involved hijacking of surrogates which meant double identities and double-crosses were potentially abound. There were some twists that I didn’t see coming that sort of paved the way for some plot holes but I didn’t mind it because the movie was so much fun to watch. It was so creepy watching people acting like robots, especially when they would “deactivate” and looked as if they were in a catatonic state. “Surrogates” is not a perfect film but it’s not as terrible as critics claimed for it to be. It definitely had some great ideas that were executed quite nicely so I think it’s worth watching.
★★ / ★★★★
Sam Rockwell stars as Sam Bell in “Moon,” written and directed by Duncan Jones, an astronaut who was sent on the moon by a company to gather precious gas that could solve the Earth’s energy crisis. Excitement came over him as soon as he realized that his three-year contract was about to expire in two weeks. However, his positive energy was quickly doused when he started hearing and seeing things that he wasn’t supposed to. I can’t help but feel very disappointed in this film because I saw so much potential in it. The feel of the picture very much felt like Stanley Kubrick’s “2001: A Space Odyssey,” but I appreciated the fact that it tried to bring something new to the table with regards to man’s relationship with machine (the super-computer named GERTY voiced by Kevin Spacey). I hate saying this about science fiction movies in general but I’m going to: it just didn’t feel real. I’m not talking about the visuals (which wasn’t that inspiring), I’m talking about how everything started to play out. For instance, when Sam realized that there was a clone of himself walking around, his reaction was very underwhelming. I don’t know about you but if I saw a copy of myself without my prior knowledge of its existence, I would freak out, throw things at it and attack it in every way possible (basically act like a crazy person) to get the upperhand. I won’t just sit there and play nice with it, especially when the copy is trying to bully me around. I also had a problem with its pacing. For a film that’s supposed to be full of wonder, mystery and surprising twists, it felt strangely stagnant. Once the clone was revealed, there wasn’t much to drive the story forward. Even their interactions weren’t really that interesting except that they seemed to have opposite personalities. The second twist regarding Sam’s life on Earth was sad but ultimately empty because I didn’t care that much about Sam. I agree with critics and audiences that it was eerie and atmospheric but that’s about it. I don’t see it as being a classic because the elements it tried to tackle weren’t fully realized. “Moon” felt like the SparkNotes version of a really dense material full of complex story arcs and mythologies. And it certainly didn’t have that wow-factor that could be found in sci-fi greats.
Shutter Island (2010)
★★★★ / ★★★★
When I saw the ominous trailer for “Shutter Island” for the first time back in early to mid 2009, I immediately knew I had to see it. But even I have to admit that I lost a little bit of confidence in the movie because its release kept getting pushed back. Usually, that is a sign that the studios are not very confident about the project so they pick a month where there is not a lot of competition. Well, I should have followed my original instincts because the legendary Martin Scorcese (“The Departed,” “The Aviator,” “GoodFellas,” “Raging Bull,” “Mean Streets”) delivered yet again. Leonardo DiCaprio stars Teddy Daniels, a U.S. Marshall, along with his new partner (Mark Ruffalo), was assigned to investigate an island which harbored a sinister mental hospital because a patient recently escaped from the facility. The two head doctors (Ben Kingsley, Max von Sydow) seemed to be compliant initially but the lead character knew that they were hiding something terrible and it had something to do with maltreatment of the mental patients.
Since I have seen most of Scorcese’s pictures, I knew that this was not going to be a typical mystery-thriller. Right from the get-go, Scorcese established one of his themes. That is, DiCaprio’s fear of the water (perhaps a symbolism for life or rebirth) while he and his partner were on a boat on the way to the mysterious island. On the boat, Teddy stated that his family was gone and what killed his wife (Michelle Williams) and child was the smoke and not the fire. I thought that was a particularly important line because there was a lot of smoke–deception–happening in this film but it is not the kind of deception that cheats because in the end it offers us a logical explanation–the fire–yet at the same time it is ultimately up to us to determine what is real and what isn’t. In other words, Scorcese successfully blurred the line between fantasy and actuality, which could have been a total mess if the material had been steered by a less capable director. One of the many things I loved about this film was its confidence in switching back and forth among the present (the investigation), the past (Teddy’s traumatizing experiences in World War II) and the fantasy (having visions and dreams of his family). The quick cuts to horrific images (which sometimes lingered both on screen and in our minds) and the menacing mental facility reminded me of Stanley Kubrick’s masterful “The Shining.” And like that particular film, I think “Shutter Island” can be a difficult to swallow in one sitting because there was a plethora of information presented to us often in one scene. The twists within a twist were fun but they can get confusing if one tries to analyze every single detail in order to find that “one” flaw. But I think that’s the beauty of this film: it is about a man who is in place where the fractured mind is king and none of it has to make sense (but it does and that’s why I’m very impressed).
I also admired the supporting actors such as Emily Mortimer, Patricia Clarkson, Ted Levine and Jackie Earle Haley. Even though they did not have much screen time, each of them injected something unique to their characters and it elevated the film. One of my many favorite scenes (and I think one of the most important) was with Clarkson after DiCaprio stumbled upon a terrible incident. I think the picture as a whole reeks of intelligence but I thought that scene was particularly astute because it managed to touch upon specific areas of the history of psychological practices that many people might not know about. I love disorders of the mind (the reason why I took a second concentration along with Biological Sciences) and that is why I love watching psychological thrillers. I feel so much joy applying the things I’ve learned in the university to films and getting a chance evaluate whether the scripts match what my professors had taught me. What’s more impressive to me is that this movie even captured that stigma that we easily put on mental patients: that they’re really scary because of the way they look, that they’re always going to be crazy even if they’re supposedly cured, and the lack of realization on our part that, when it comes to people with mental problems, the irrational behavior is separate from the person.
With all of that said, “Shutter Island” is my pick as the first great film of 2010. After the rollercoaster of emotions and mind-bending situations that the film put me through, I’m very interested in reading Dennis Lehane’s (“Gone Baby Gone,” “Mystic River”) book of the same name. The movie is approximately two and hours and twenty minutes long but it’s two hours and twenty minutes rich of a complex storytelling, a haunting soundtrack and an exploration of what can or should be trusted. Most importantly, it is an exercise in how powerful one’s vision can be if one approaches it with a balance of intellect and confidence.
Dial M for Murder (1954)
★★★★ / ★★★★
Adapted from a play by Frederick Knott and directed by Alfred Hitchcock, “Dial M for Murder” is a top-notch thriller about a husband (Ray Milland) who plots to kill his own wife (Grace Kelly) so that he could inherit all of her money. The wife is having an affair with a writer (Robert Cummings) and the two are so close to telling the husband about their relationship, totally unaware of the fact that the husband has his own suspicions. I love how meticulous this film was when it comes to its pacing and detail so that everything made sense in the end. I noticed that the movie was divided into three parts: the first thiry minutes was how the husband essentially forced another man (Anthony Dawson) to kill his wife, the next thirty-five minutes was the actual murder and the first couple of twists in the story, and the last thiry-five minutes was how the good guys tried to capture the villian of the story. The question is, considering this is a Hitchcock film, will they succeed? Most of the picture was shot indoors, which reminded me of Hitchcock’s other film called “Rope,” but that doesn’t make it any less compelling. In fact, I think it worked in its favor because the audiences really got the chance to not only get very familiar with the scene of the crime but also play detective when one very curious and astute inspector (John Williams) suspected foul play. I also enjoyed the fact that Milland’s character was very smart so catching him was no easy feat. With most thrillers nowadays, they succumb to big chase scenes with violence (which can be pretty entertaining) but this one relied more on the subtleties of the characters’ actions and the dialogue between them. There were times when even I was lost because I kept trying to keep up with what a particular character wants to prove or suggest to another. Eventually, however, everything comes to light and there was a nice twist in the end that even I didn’t see coming. I’ve seen most of Hitchcock’s pictures and I have to say that this one is one of the most fun to watch because I really do love movies with a lot of talking. It also helped that the film had a certain sureness about itself so I was absolutely fascinated with how it would all turn out. If you love Hitchcock’s films and have not seen this one, do yourself a favor and watch it now.
Barton Fink (1991)
★★★ / ★★★★
Written and directed by the Coen brothers, “Barton Fink” tells the story of a playwright (John Turturro) who was hired to write for the movies in Hollywood after his celebrated success on stage in New York. Everyone assumed he had a natural gift for telling stories about the common man so they thought that his writing would immediately translate from stage to pictures. However, right when Barton arrived in his dingy hotel room, he got a serious case of writer’s block. This film was rich in symbolism and it was fun deciphering each of them. However, unlike some of the Coen brothers’ less enjoyable dark comedies, the symbolism and ironies did not get in the way of the fantastic storytelling. Turturro did such a great job as a writer struggling to find an inspiration. He’s very human because he is full of self-doubt yet it was very easy to root for him to succeed because he doesn’t let fame get into his head. In fact, when annoying neighbors (John Goodman) prevent him from concentrating on his work, he welcomes (at first warily) instead of condescends. I also enjoyed the supporting work of Steve Buscemi, Tony Shalhoub and Judy Davis. Their performances reminded me of the best noir pictures in the 1940’s and 1950’s–sometimes in the extremes but they have certain qualities that are so specifically Coen and therefore modern. The last forty minutes of the film completely caught me off-guard. Just when I thought I was finally going to get a more “typical” movie from the Coen brothers, they pulled the rug from under my feet and gave me twist after twist to the point where I found myself struggling to keep up (in a good way). Putting the pieces of the puzzle together was half the fun in analyzing this project. The other half was more about its play on the subtleties and how those little things eventually add up to trigger something so big that it completely changes the rules of the game altogether. The film may be more comedic on the outside but sometimes the darkness underneath it all seeps out from within. And when it happens, I was nothing short of enthralled. If one is interested in movies that are genre-defying but still makes sense as a whole, then I absolutely recommend watching “Barton Fink.” It requires a little bit of thinking because it takes a lot of risks but it’s more than worthwhile. I hope to discover more treasures (and hopefully love it that much more) the second time I get the chance to see it.
★★★ / ★★★★
Writer-director Tony Gilroy’s spy film “Duplicity” greatly benefits from the two very charismatic leads, Julia Roberts and Clive Owen. The two met four years ago when both were on a mission in Dubai. Unknowing Owen, an MI6 agent at the time, hits on Roberts whose mission was to steal some documents for the CIA. After a one-night stand, Roberts leaves and the film shows the two of them meeting again in New York four years later in very amusing circumstances. This is not the kind of spy movie where objects blow up and people end up dying. The target audience of this picture are those who are into astute and often confusing storytelling that eventually makes more and more sense toward the end. I mentioned that this was confusing but I meant it in a very good way. It managed to keep me guessing from beginning to end because it kept pulling the rug from under my feet. I was invested in the two lead characters because I constantly had to reevaluate who was trying to trick who and up to what point they start to trust each other (or if it’s ever possible). After all, the two are in a relationship and trust is a requisite in order for such a thing to be successful. I liked the suppporting characters, mainly Tom Wilkinson and Paul Giamatti as two rival major pharmaceutical executives. Their intense performances were so ridiculous to the point where I ended up chuckling or laughing out loud whenever they were on screen. While the picture did have its slow moments, such scenes were a nice break from the constant one-upmanship between the timeless Roberts and suave Owen. There were times where I almost preferred watching them banter in the bedroom instead of being on the outside playing professionals. As for its ending, I thought it was wonderful; there was something very comical about the whole thing for two reasons: I didn’t see it coming and it was very ironic. Overall, the film had a nice flow to it because it had a nice balance of light thrills and genuine dramatic weight. I very much enjoyed Owen and Roberts in “Closer” as well as in this film. Hopefully, in the near future, they’ll team up again to spice up the screen.
★★★ / ★★★★
I was pleasantly surprised how effective this psychological thriller was. With a running time of two hours, it was able to build up the tension it needed to truly scare the audience when the evil child began to unravel what she was capable of. Directed by Jaume Collet-Serra, “Orphan” was about a mother who is still mourning for the loss of her baby (Vera Farmiga), a father who wants to help the family move on from a tragic loss (Peter Sarsgaard), and their decision to adopt a precocious girl named Esther (Isabelle Fuhrman) to join their family. Little did they know that Esther has a plethora of secrets of her own and it would take a great deal of effort and energy (and a whole lot of convincing) to unravel just one of them. It is really difficult for me to say any more about this film without giving away the final twist. But let me just say that this movie did not cheat (i.e. result into supernatural explanation or fancy camera work) to achieve that twist so I was impressed. This picture definitely reminded me of “The Good Son” and “The Omen,” just because a child was a villain in both. However, I think this film was on a different level of excitement because, unlike “The Good Son,” the villain’s methods are much more graphic yet insidious, and unlike “The Omen,” it is actually grounded in realism and that made the picture more haunting. I also liked the fact that the other two kids in the family (Jimmy Bennett and Aryana Engineer) had important roles that drove the movie forward. If I were to nitpick, the only thing I thought the movie could have worked on was the history regarding Esther. By the end of the film, I felt like there were a lot more that the audiences did not find out about her and what made her the way she is. Other than Farmiga as the mother who no one believes in and labels as paranoid (which brought “Rosemary’s Baby” to mind), Fuhrman is a stand out. I want to see her in more movies and her range of acting because she made me believe that a child was capable of doing all those horrible things. Even though “child-killer” movies have been done before, I enjoyed this flick because I could not help but imagine that if I was in the mother’s situation, I would do absolutely anything to keep that evil child away from me and my family.
★ / ★★★★
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.
Tell No One (2006)
★★★ / ★★★★
I was really impressed with this French thriller because of how well-constructed the story was. In the first scene, the wife (Marie-Josée Croze) of Dr. Alexandre Beck (François Cluzet) was murdered. Eight years later, he received a mysterious e-mail that suggested that she was alive. Questions then start popping up like hives and the film only gets better from there. Did the wife really die? Who was sending those strange e-mails? Who was really behind all the murder and deceit? There was no straight answer up until the very end so the audiences get a chance to play detective and get really involved with the plot. I liked the fact that when answers were being presented, they weren’t just done in a series of brief flashbacks like in mainstream American films. This movie really takes its time to explain what happened, why certain events happened, and how conclusions by different characters may get tangled up. There’s this constant theme of trying to stay one step ahead of another. This happens to the characters (especially Croze’s) and to the audiences (as we try to catch up and reevaluate the “truths” when each twist is revelead). Even though this is, without a doubt, a thriller motion picture, I found it interesting that there’s this gloom that pervaded the film. Moreover, even though the lead characters’ questions–one way or another–gets answered, the ultimatel message is what’s lost is lost; you can never go back to the way things were. The acting must be commended: François Berléand (as the detective), Kristin Scott Thomas (as Dr. Beck’s friend) and Nathalie Baye (as the thick-skinned lawyer). Each of them brought a certain edge and intelligence to their characters and it was fun to see how their dynamics with Croze change as the film progressed. Based on Harlan Coben’s novel, Guillaume Canet directed “Tell No One” with such focus and enthusiasm. That scene involving Croze running away from the police which involved a freeway is still so vivid in my mind. If one is looking for suspense that is astute and memorable (yet strangely touching), this is the one to see.