Crazy, Stupid, Love. (2011)
★★ / ★★★★
Cal (Steve Carell) and Emily (Julianne Moore) were deciding what to order in a restaurant. Cal wanted crème brûlée. Emily wanted a divorce. Top to it off, she admitted that she had slept with one of her co-workers (Kevin Bacon). Almost immediately, Cal moved out of the house while his kids, Robbie (Jonah Bobo) and Molly (Joey Kind), stayed with their mother. Having no one to talk to about how he felt about the separation and how quickly it happened, Cal went to a bar to meet women. Jacob (Ryan Gosling), a posh womanizer, saw something in Cal that made him want to help the sad sack, starting with his wardrobe. “Crazy, Stupid, Love.,” written by Dan Fogelman, could have been an enjoyable romantic comedy if it had been severely trimmed. With a running time of almost two hours, the fat was heavy and uninteresting. The weakest portion of the film was its core. That is, the dissolution of Emily and Cal’s marriage. It was difficult for me to care about their separation for two reasons. 1) We didn’t yet know them when the news was thrown on our lap and 2) The sad parts, just when they were about to hit their peaks, were interrupted by comedy. For instance, while on the way home as Emily attempted to explain why she wanted a divorce, Cal decided to exit the car while it was moving. It was supposed to be funny but I didn’t laugh. I just felt sorry for him because he wasn’t equipped in terms of how to properly the digest the information he was given. He would rather jump out of the car than deal with the problem. What kept the project afloat were the energetic supporting characters. They were the ones who consistently made me laugh. Robbie, a thirteen-year-old, had a gigantic crush on Jessica (Analeigh Tipton), his seventeen-year-old babysitter. His public proclamations of his feelings toward her were downright embarrassing but sweet. Jessica wasn’t able to reciprocate due to their age difference and, more interestingly, she lusted over Cal, who was probably three times her age. I also loved watching the scenes between Hannah (Emma Stone), a law student, and Jacob. They shared intense chemistry so their scenes, which ranged from silly to sexy, felt effortless. It made me wish that the center of the movie was young love and how crazy, stupid, silly, naive it all was. While Cal’s wardrobe make-over and various attempts to get women into bed were necessary elements so that Cal would eventually realize his value as a father, as a husband, and as a man, they took up too much time. I wanted to know more about Emily and how her decision affected who she was as a strong woman with a career and as a mother. It wasn’t the actors’ fault. They did the most with what they were given. The problem was the script. It was reluctant to really delve into the pain of separation so it settled with spoon-feeding us so-called funny skit-like scenarios that not only did not flow together, they also consistently crossed the line between simple coincidences and forceful twists. “Crazy, Stupid, Love.” will appeal to those who like their comedies very light and cutesy. And that’s okay. But for those who like to watch characters who make decisions that make sense, they should keep walking.
The Good Guy (2009)
★★ / ★★★★
Alexis Bledel once again plays an ambitious and smart young woman who was torn between two guys who worked on Wall Street. Tommy (Scott Porter) knew what he wanted, wasn’t afraid to act on his impulses, a sweet-talker and a womanizer. On the other hand, Daniel (Bryan Greenberg) was socially awkward, did not have much luck with the ladies, but his insight made it difficult for anyone to not fall head over heels with him. Due to some unforseen circumstances, Tommy enthusiastically took Daniel under his wing and tried to make Daniel be more like a cutthroat businessman than a poet who wore his heart on his sleeves. I enjoyed the movie because it was an observation of modern relationships set in an urban area but I felt like it did not take enough risks. I loved that Greenberg’s character highlighted the theme of the film in which he mentioned that his favorite book was “Pride and Prejudice” by Jane Austen because it was about false first impressions. Although the lead characters had clear dominant personalities, I found subtleties in them and I was interested with what was about to happen among the relationship between the girl and the two guys. I wished that their strained relationship was explored more and that the picture had less scenes of Tommy and his friends (one of which was played by the amusing Aaron Yoo) teasing each other and trying to pick up women in bars. I was also interested in one of the guys who worked on Wall Street who said he valued his wife and children more than his job and money. Greenberg had one scene with him which I thought was handled well because they found similarities in each other but it ultimately felt superficial because it wasn’t further explored. Written and directed by Julio DePietro, “The Good Guy” had the right ingredients to make a solid movie about character studies because I came to understand the protagonists’ motivations. But there were far too many scenes that did not need to be in the final product and not enough scenes that should have made it in. It also needed a bit more edge because there were times when the picture reached an emotional plateau. I could easily relate to the characters because even though they were out in the real world, they were still young and trying to figure out who they really were when with friends, with a special someone, or when forced to look at themselves when they had nobody else to turn to.
Ghosts of Girlfriends Past (2009)
★ / ★★★★
I knew I wouldn’t like “Ghosts of Girlfriends Past” from the moment I saw the trailer because I’ve never exactly warmed up with the lead actor. Matthew McConaughey plays a photographer who gets his way with just about any woman he encounters. But when he goes back home for his brother’s wedding (Breckin Meyer), he sees the woman (Jennifer Garner) who he fell in love with as a child and is visited by the ghosts of his former lovers who tell him the error of his ways. Everything about this film was painfully predictable. From the bad-boy-turned-good lead character to a stressed out bride, it was all too formulaic to be even slightly inspiring. I think one of the fatal errors of the movie is that it didn’t give us a reason to care for McConaughey. During the first few scenes, he could still have been established as a player but if there was one or two sensitive moments when he was just by himself and regretted where his life was going yet can’t quite break from it, that could have been a good start because there was tension. Instead, we get to see a series of cruel stunts from him such as breaking up with women over the internet (over group chat!) and trying to desuade his brother from marrying the girl (Lacey Shabert) of his dreams. But what I loved about this movie was Garner which was not a surprise at all. I just love looking at her because she may look tough on the outside at times but I always feel this light coming out of her. I wanted her to just get over McConaughey and fall for the doctor who the bride set her up with. Inspired by Charles Dickens’ “A Christmas Carol,” “Ghosts of Girlfriends Past,” directed by Mark Waters, was a very weak attempt at a modern romantic comedy. It desperately needed some edge, focusing of the main storylines, a much needed heart from the main character, better jokes and a significantly more astute dialogue. There were times when I thought to myself, “I don’t know anyone stupid enough to say something like that.” I felt like I was watching high school students trying to put together a wedding instead of adults. Perhaps the writers are partly to blame for writing such a soft and very simplified material. And to be honest, I really don’t understand why this picture even got a green light for production. A romantic comedy can still be successful with a bit of alterations from the usual fare. Watching “Ghosts of Girlfriends Past” was, quite frankly, like eating bad cheese.
All the Real Girls (2003)
★★★ / ★★★★
This very earnest and honest love story between a virgin (Zooey Deschanel) and a womanizer (Paul Schneider) may have been difficult to swallow but it was rewarding. Written and directed by David Gordon Green, the style of storytelling of this film was at first distracting because it constantly made quick cuts from one scene to another. But as the picture went on, I realized it was effective because the characters had to quickly say what they wanted to say even if the words that came out of their mouths were not exactly the truth. The first scene was very cute so I was instantly hooked. The romance between Deschanel and Schneider reminded me of the chemistry of the lead characters in “Before Sunrise” and “Before Sunset.” That scene was funny, and best of all, it felt real–like a conversation that I might overhear while waiting at a bus stop. I also liked the supporting actors such as Shea Whigham as Deschane’s older brother who did not approve of the relationship and Patricia Clarkson as Schneider’s mother. Although Clarkson was not the focus on the movie, she made the most of the material she was given. That is, a mother who worked as a clown to provide his son and as a mother for was concerned and frustrated with where her son’s life was heading. She played her character with such grace because she balanced sadness and strength really well. Lastly, I enjoyed the picture’s autumnal feel and its use of symbolism. Its complexity might easily be overlooked because of its initial distracting style but once one really gets into its rhythm, it really is quite keen when it comes to what it means to fall in love and be loved. Just when I thought the picture was borderline turning into a syrupy romance, it changed gears and commented on the relief and pain that comes hand-in-hand with being honest with one’s self and wanting to change so bad to be accepted by someone. It also had a chance to tackle issues such as the breakdown of communication when distance is involved, the dynamics of friendship and what it means not only to love someone but also respect them. This is a smart sleeper film that doesn’t give us the easy and sugary answers we want to hear. But it is the kind of film that assures us that it’s alright to be confused and to question what and how we really feel toward someone important to us.