Fame
Fame (1980)
★★★★ / ★★★★
Students with talent when it comes to acting, singing, dancing and playing music were accepted in New York City’s High School for the Performing Arts and those who lack such talents were rejected. The very intense audition process was only the first scene and it really showed me that “Fame,” directed by Alan Parker, was going to be a very different musical compared to the ones that have been released in the 2000s. Throughout the film, it had a certain seriousness to it. It started off showcasing naive characters who want to “make it big” but as years went on, some of them made it while the others’ dreams were crushed because they either succumbed to the pressure or they simply didn’t have that extra “thing” to make them stand out. Some of the students that the film focused on were Irene Cara (who wanted to be a singer), Maureen Teefy (who wanted to act), Barry Miller (who wanted to follow Freddie Prinze’ footsteps), and Lee Curreri (who wanted to make and play music that was different and progressive). Throughout the film’s 130-minute running time, the spotlight was eventually under each of their respective struggles and we get some ideas on what made them the way they were. I also liked the fact that none of the actors looked like typical actors or had features that most would deem “beautiful.” In fact, all of them looked kind of geeky or nerdy so that spice of realism really helped the picture to become more than another forgettable musical. As four years went by, the characters matured (while some were fixated) in both overt and subtle ways and their problems had more gravity. Granted, the pacing became a little slow (and somewhat depressing) toward the end but I was more than willing to forgive that flaw because there were a plethora of memorable scenes and fun dance sequences. I wish that Cara had more scenes, however, because I really did love her songs. I wished that the film showed more of what personal events and experiences inspired her to write. This movie’s remake is to be released this year (2009) and I can only hope that it is able to retain some edginess and realism that this one had. I also hope that the remake would not lose sight on this picture’s theses–that talent is a good template but far from enough to be successful; and those who attain fame are not necessarily safe because it’s a constant challenge to rise above the pressures. The movie’s ability to take the audiences back to the 1970s was a bonus.
Jennifer’s Body
Jennifer’s Body (2009)
★★★ / ★★★★
I decided to see this horror-comedy about demonic possession and female sexuality not because of Megan Fox but because it stars Amanda Seyfried (“Mean Girls,” “Mamma Mia!”) and it was written by Diablo Cody (“Juno” and columnist on “Entertainment Weekly”). Seyfried must defend her town from a man-hungry Fox after an emo band (led by Adam Brody) who dabbles with the occult kidnaps her. At the same time, she must deal with her sometimes jealous boyfriend (Johnny Simmons) because he thinks there’s something unhealthy about his girlfriend’s relationship with Jennifer. The set-up is very simple and very clean but the journey to the finish was quite rough and sometimes unconventional (but in a good way). Apart from the whippersnapper and often downright clever and funny dialogue, “Jennifer’s Body” reminded me of the horror movies from the 1980s because it had a certain B-movie quality to it. Not to mention that the climax happened during a school dance. At times, it did surprise me because it offered certain insight regarding the dynamics between best friends; how one needs the other in order to feel better about herself, which begs the question on whether they were truly friends or if they were more like “frenemies.” The movie straddles that line really well so then there was this constant conflict between the two best friends even before Fox was turned into a demon. But the star here is not Fox (or her body), but Seyfried. She was able to be this character who was kind of a loser but a great person at heart, be sensitive and tough all at once. One main concern about this movie is that audiences will simply choose not to see it because they either hate Megan Fox for whatever reason (I think she’s one of the worst actresses in Hollywood right now but that’s not news) or label it as another “Juno” because of the modern pop culture dialogue. It’s really more than that because it’s a horror-comedy with a brain, which is very unlike straight (supposed) horror movies like Rob Zombie’s “Halloween II” or Patrick Lussier’s horrid “My Bloody Valentine.” If I were to throw out one major problem I had with this movie, I say it wasn’t scary enough to truly make classic horror fans to be impressed with it. Nevertheless, I still think “Jennifer’s Body,” directed by Karyn Kusama, is a good popcorn flick that lives up to its first line: Hell is a teenage girl.
The Professional
Professional, The (1994)
★★★ / ★★★★
Jean Reno, a reclusive assassin whose best friend is a plant, takes twelve-year-old Natalie Portman under his wing after her family was killed by police officers led by Gary Oldman. Written and directed by Luc Besson (“The Fifth Element,” “La Femme Nikita”), I enjoyed “The Professional” because it was more about the humanity of a contract killer instead of his many interesting ways of killing. Even though the action sequences could be found more toward the beginning and the end of the picture, I still found Reno and Portman’s relationship to be quite endearing. Undoubtedly, there were times when I found the director would cross the line between father-figure/daughter relationship and older man/younger girl relationship. Those scenes made me uncomfortable but perhaps it was because this was Besson’s first full English-language movie. In my opinion, European films have a more sensual feel compared to American movies. Still, I was able to overlook such flaws because I found the story to be interesting even if it needed to have more depth. Another quality I liked about this film was that there really was no “good” character. Pretty much everyone had done something shameful in their lives. And the main character was aware of this so he locks himself up in his room and only comes out whenever he has an assignment. Oldman’s character was the kind of guy that you love to hate because he has no redeeming quality. Nevertheless, I thought he was very interesting to watch because of his quirky mannerisms and sinister aura. I kind of expected an intense duel between him and the protagonist so I was somewhat disappointed with the ending. For such a sadistic man, I thought the bad guy would suffer more in the hands of another killer and get the delicious irony he deserved. If one is looking for action with picture with a heart, I’m giving “The Professional” a pretty solid recommendation despite its sometimes glaring flaws.
The Man Who Wasn’t There
Man Who Wasn’t There, The (2001)
★★★ / ★★★★
“The Man Who Wasn’t There” was about a man (Billy Bob Thornton) so bored by the ordinariness of his life and so into his head that he one day decided to spice things up by blackmailing his friend (James Gandolfini) after he gets an offer to be a business partner from another man with great ideas. One decision triggered certain events that caused a giant fracture in the lives of the people Thorton’s character had something to do with such as his wife (Frances McDormand), a lawyer (Tony Shalhoub), a girl who played the piano (Scarlett Johansson), and others. Since this was an Ethan and Joel Coen picture, I expected to be astute in its observation of human nature as well as the ability to show its audiences how it was like to be in the main character’s unique perspective. It was more than able to deliver those qualities and beyond because the story took turns that I didn’t expect. Each scene was crucial and it constantly evolved to make us feel for a man who made very bad decisions. While the signature Coen brothers humor was certainly there, it had a certain edge and darkness to make it more than just a film about consequences. I also liked the fact that this was shot in black and white because I thought it reflected the main character’s mindset. I noticed him always considering the very extreme of things, especially when he narrated the picture, and his weakness was that he was partially blind to the (morally) gray. The black-and-white also worked because this was essentially a noir movie. I loved the night scenes especially the ones shot indoors. The angles and composition of the shadows really made the experience that much more engaging. The atmosphere of the time period was also very well chosen because the Coen brothers were able to inject interesting (if not somewhat unexplored) mini-storylines involving extraterrestrials and the craze about them at the time. That one scene when Katherine Borowitz’ character knocked on Thornton’s door and told him certain bits of information about a hidden plot gave me serious goosebumps because it came out of nowhere. “The Man Who Wasn’t There” was full of surprises and I definitely consider it as a must-see for fans of the Coen brothers, or even for people who just want to observe what lengths characters living with the ennui are willing to go through to make their lives more vibrant and regret it afterwards.
The Informers
Informers, The (2008)
★ / ★★★★
Set in the early 1980’s Los Angeles, “The Informers” based on the novel by Bret Easton Ellis, was about the emptiness of multiple characters who would rather try to escape their problems in hopes that they would eventually go away rather than tackling them head-on. Although there were five to six storylines, only about two or three worked for me. I wished that Gregor Jordan, the director, instead focused his energy on those three and really explored why the characters chose to make certain decisions. Kim Basinger, Billy Bob Thornton, Mickey Rourke and Winona Ryder are the big names who I thought would elevate this picture. However, their storylines were so uninteresting, they might as well not have appeared in it. What did work for me was Jon Foster as a rich twentysomething who seemingly had it all but he chose not to use his priviledges to his advantage. Instead, he decided to deal drugs and hang out with people who really did not care about him–people who only cared about drugs, sex and living the luxurious life. I was really engaged with his scenes because little by little he realized that he was just being used, especially how his girlfriend didn’t care about him as much as he cared for her. I also liked the dynamics between Foster and his sister and how they felt about their parents’ (Basinger and Thorton) decision to move in together after they’ve been separated. Unfortunately, that bit was very underdeveloped. Lastly, I thought the scenes in Hawaii with Chris Isaak and Lou Taylor Pucci–father and son, respectively–was pretty well-done. It was somewhat humorous to me because it was a classic desparate father-son bonding where everything pretty much went wrong. But it could also be seen through a dramatic lens because the son hid this true hatred toward his father since the father only cared about himself. I really believe that critical adjustments such as a different director, sharper and bolder writing, eliminating storylines and expanding others (like the rising unknown disease now known as AIDS), this movie could have become a totally worthwhile experience. After all, the material was based on the works of a writer a really enjoyed such as “American Psycho” and “The Rules of Attraction.” “The Informers” could have provided insight on how it was like to live life without any sort of internal locus on control and how that manner of living could drive us to the ultimate levels of boredom, unsatisfaction, and madness.
The Fifth Element
Fifth Element, The (1997)
★★★ / ★★★★
I didn’t know much about this movie when I decided to watch it so my expectations were not that high. I thought it was going to be another one of those science fiction movies that deals with the apocalypse and so happens to take itself way too seriously. I couldn’t be anymore more wrong because “The Fifth Element,” written and directed by Luc Besson, was as funny and interesting as the vibrant colors that could be found in it throughout. Every 5,000 years, a strange power appears and tries to engulf life. It could be stopped by combining the powers of fire, water, wind, earth and the supposed “fifth element” for another five thousand years and the cycle continues. Bruce Willis stars as Korben Dallas, a taxi driver in futuristic New York who used to work for the military. He got sucked into the madness of intergalactic battle when Milla Jovovich–the fifth element, also known as the perfect being–literally dropped into his taxi. Their mission was to gather all the elements and save the planet from being obliterated into oblivion. Gary Oldman as the evil Zorg, Ian Holm as the priest, and Chris Tucker as the hilariously flamboyant DJ also star. I enjoyed this movie more than I expected to because its pace was quick; it didn’t dwell on the specifics on who’s who and what their intentions and motivations are. This film definitely reminded me of a hybrid between the “Star Wars” saga and the B movies of the 1950’s because it had that nice balance of imagination and humor. The only minor complaint I had was that sometimes it managed to distract itself from the story to make room for some of the more obvious funny moments. Tucker was the one who stole most of the scenes he was in because he was able to focus his manic personality into a character that had to be very enthusiastic about everything every time he was on his program. As for the visual and special effects, yes, they are sort of dated but I really didn’t care because I’m more concerned about the concept, how well a film builds on the story, and how it utilizes its characters. “The Fifth Element” is one of those movies that one can really enjoy if one doesn’t mind watching something over-the-top on a slow night.
Bottle Shock
Bottle Shock (2008)
★★ / ★★★★
I decided to watch this movie because I was interested to learn more about one of the landmarks of the wine industry (even though I don’t know much about wine). That is, the creation of the perfect Chateau Montelena chardonnay. Alan Rickman stars as Steven Spurrier, the owner of Academie du Vin, who traveled to the United States in order to collect wine for the Judgment of Paris wine competition. One of the places he visited was Chateau Montelena which was owned by Jim Barrett (Bill Pullman), a man who was buried in loans and frustration with the fact that his son (Chris Pine) failed to show interest or enthusiasm when it came to the family business. The weaker and less interesting part of the film was the romance triangle among a Hispanic worker (Freddy Rodriguez) in Chateau Montelena, a new intern (Rachael Taylor), and Jim’s aimless son. Another negative was that even though the story was supposed to be set in 1976, it didn’t feel like it was because of both the actors and the script. That sense of authenticity was important to me because I really wanted to be sucked into the time period. I also felt as though the picture played everything a bit too safe. With each scene everything just felt nice and breezy instead of revolutionary, which is a problem because the core of the movie was how the events in the vineyard impacted the wine industry. Randall Miller, the director, should have taken more risks instead of resting on the romance between the three younger characters. In fact, I think the movie would’ve been better off if about thirty minutes were cut off because it would have been more focused and the pace wouldn’t have felt as slow. Still, I don’t consider “Bottle Shock” a bad movie because there were moments of true wonder for the audiences, especially when the wine suddenly changed from clear to brown. I had no idea whether that was a positive or a negative thing prior so I certainly learned something from the film. And the exciting competition scene was quite amusing because the French judges tried so hard to discern which wines were from France and which ones were from the United States. The looks on their faces after the competition was priceless.
Rois et reine
Rois et reine (2004)
★★★ / ★★★★
“Rois et reine” or “Kings and Queen” tells the story of a man and a woman who were going through their own problems in life. Initially, the two camps seemed to be unconnected because of their predominantly disparate tones–one comedic and one tragic. Nora (Emmanuelle Devos), who lives with her third husband-to-be, visited her son Elias (Valentin Lelong) and father (Maurice Garrel). After Nora’s father confessed to her that he has been having some stomach problems, she took him to the hospital and found out that he was terminally ill. This caused a great interruption on the life she desperately wanted to believe was going great because she now had to deal with where to put her son because he and the third husband do not get along. She also had to deal with her sister who only used their father for money and what the father really thought of Nora. On the other hand, Ismael (Mathieu Amalric) was sent back to the mental hospital against his will. In there, he found amusing ways to cope such as finding romance and discussing his psychology with a psychiatrist. Although this film was about a many things at once, it impressed me because in a span of about two hours and thirty minutes, it was able to balance comedy and drama throughout. What’s more impressive was Arnaud Desplechin’s, the director, ability to cut to one genre to another when things began to feel suffocating. So, in a way, it worked as two different but good films but the connections that the two had made it that much more enjoyable. Just when I thought everything was going to wrap up in a neat little package when Devos and Amalric finally had a scene together, more problems began to appear because two had a history. Many questions were then brought up such as when one’s responsibility should end when a relationship has been mutually agreed upon as over, whether the mother is doing the right thing by indirectly choosing her third husband over her only child, and the pros and cons of keeping a certain knowledge a secret when the burden is too much to bear. There was a certain organic feel in the film which made me believe that the events portrayed could have happened in real life. I thought one of the strongest scenes in the movie was its ending–the conversation between Amalric and Lelong–because it remained true to itself: with every negative comes a positive (and vice-versa). “Rois et reine” is the perfect film for those who love character studies of individuals who have many imperfections but still have certain reedeming qualities.
Tekkonkinkreet
Tekkonkinkreet (2007)
★★ / ★★★★
Based on a manga by Taiyo Matsumoto, “Tekkonkinkreet” was about two children aimed to protect their city from people who either wanted to change the city for the better or demolish it altogether to build an amusement park. Although the medium is animation, the story is not for children because it is very violent and the issues it tackles are geared more toward adults. While I did admire its ability to take risks, it did not completely work for me because it started out as a story grounded in reality but elements of the paranormal or fantasy somehow was added into the mix. It became really confusing, especially toward the end, not only because the movie simultaneously showed events that were actually happening in the real world, it also showed what was in the characters’ heads, and possibly scenes of the future. Perhaps the reason why I didn’t quite get it was because I needed more background information. But then again I always judge a film as a stand-alone piece of work; it should be able to hold up without having to read the source from which it was based on. Undoubtedly, there were some positive things such as the intense chase scenes and the imagination embedded in the metaphysical and surrealistic scenes. Directed by Michael Arias, I wish “Tekkonkinkreet” had less visual stimulation and instead worked more on its emotional resonance. I was interested in the two main characters’ relationship with each other and their society. It would have been a great opportunity to explore how their role as homeless kids, who had to steal from citizens and live in an abandoned car, was directly affected by cops who really cared about their well-beings (and vice-versa). What I love about animes and animated features in general is that it is limitless when it comes to giving its audiences images and emotions. However, there are those animes that simply fail to get me to care or keep my attention due to that lack of balance between the two. Unfotunately, this film is one of those animated pictures that left me bewildered in a negative way.
The Twilight Saga: New Moon
Twilight Saga: New Moon, The (2009)
★★ / ★★★★
I cannot believe I saw this in theaters considering I wasn’t that impressed with the first “Twilight” film. However, since my expectations were low, I’m happy to say that I wasn’t disappointed (but I wasn’t happy about it either). I expected a mediocre outcome and got just that. Chris Weitz directed the second installment of the highly popular franchise. He tried to balance Bella’s (Kirsten Stewart) depression when Edward (Robert Pattinson) decided to break up with her due to an incident during her eighteenth birthday and Bella’s attempt at recovery when she finally got the chance to get to know Jacob (Taylor Lautner) who saw her as a romantic interest. And that was pretty much what the whole movie was about because I felt like this was more of a transition than anything. With that said, I found that this movie had no reason to be over two hours long. There were far too many scenes when Edward and Bella would talk and circumvent the main point they wanted to get across. For me, the sexual tension that worked in the first film simply wasn’t there anymore. Simply saying, “I cannot live without you” over and over is simply not good enough. In fact, I hated it when Bella and Edward were alone together because I knew I would hear an extended conversation that lacked gravity. On the other hand, I was interested in Bella and Jacob’s blossoming friendship. There was a certain brother-sister connection there even though Jacob wanted Bella romantically (and not the other way around). I was also happy with the new characters that involved a vampire royalty called the Volturi (mainly Michael Sheen, Dakota Fanning). I completely bought that they were menacing, powerful and very unstable group of vampires. One of the many ways this movie would’ve been more entertaining was having more action scenes. I loved the scenes that involved the diabolical Victoria (Rachelle Lefevre). Even though she barely said a word, her presence was mysterious and posed as a real threat. Granted, the film was based on Stephenie Meyer’s novel so it had plot limitations that were strictly designed for this sequel. However, there’s a certain way–an elegance, confidence, and ability to take risks–to make those limitations work for this project but I felt like it didn’t even try. With a much bigger budget than its predecessor, it should have been that much better, bigger in scope and more urgent. Regardless, I’m still curious with how the story would play out in the future installments especially with the way they ended this one. I cannot believe I said (more like yelled) “What?!” out loud when a certain line was said and it cut to the end credits. The fans of the novel probably looked at me and wondered why I watched the movie before I read the book.
Precious: Based on the Novel Push by Sapphire
Precious: Based on the Novel Push by Sapphire (2009)
★★★★ / ★★★★
I find it an uncommon experience to watch a movie that really gets involved with my emotions, but it’s rare that I watch a movie that has the ability to completely transport me in its reality. Directed by Lee Daniels, “Precious” tells the story of an pregnant, obese, illiterate African-American teenager (Gabourey “Gabby” Sidibe) who has grown accustomed to the physical and emotional abuse inflicted by her mother (Mo’Nique) and how she eventually found strength inside of her to stand up and take her life in a positive direction. A few people who genuinely took interest in Precious were Paula Patton as the school teacher, Mariah Carey as one of the people who works for the welfare system, and Lenny Kravitz as a male nurse who took care of her after she had her second baby.
I have to admit that I choose to ignore or even actively stay away from people like Precious, partly due to fear since she came from a terrible neighborhood and partly due to how she presented herself: very quiet yet volatile and someone that seemed like she had no interest in taking care of herself. That stereotype that I often rely on doesn’t come consciously to me anymore and it was nice, through watching this film, to be reminded that despite physical appearances, everyone has a surprising (and even touching) story to tell, a story that transcends all the stigma and the pain that a person shows and hides. Even though the subject matter of this film was depressing, it found enough moments to insert not just amusing lines and moments but actual hopes and dreams of the lead character’s. Such scenes illustrated that although Precious didn’t like herself (when she looks in the mirror, she sees a completely different person–Caucasian, skinny, happy), she wanted to break out from her violent living environment and ultimately be loved for who she is and what she has to offer.
I thought the scenes of physical abuse from her father were done in a sensitive and insightful way. Instead of actually showing us the act, I admired how the picture chose to dissociate itself from the scene as when Precious would dissociate herself from the experience and think shiny, happy thoughts. From what I learned in Psychology, rape victims, especially those people who were raped ever since they were children, dissociate their minds from their bodies as a defense mechanism. So I thought the film’s craft was spot-on. Mo’Nique’s character was beyond cruel but just when I thought she was a complete monster, the movie shows us that she does indeed have a heart. It’s just that she became angry and bitter over the years because of how she interpreted certain events and how she saw certain realities. Again, I saw this through a psychological lens so her reaction made sense to me even though I do not agree with the way transfered all her frustration and anger (that should have been directed to her husband and herself) to her only daughter. Mo’Nique has been getting a lot of strong Oscar buzz for Best Actress and I believe she should be nominated because out of the many movies I’ve seen in 2009, her performance stands out by a mile.
The reason why I consider “Precious” one of the strongest movies of 2009 is because, despite its gloomy premise, it’s ultimately a very inspiring story about a seemingly hopeless girl from Harlem who chose to break the chains of abuse and find an alternative path so that she could grow as a person and maybe even reach her potential. This is a great film to show to kids from the poorer neighborhoods because it might give them enough courage to speak out and discover a role model that they might not have in their respective homes. It’s been a while since I saw people actually crying in the movies and people talking about it right when we were walking out of the theaters. Even though I saw this film alone (For some reason, I almost always watch the best films of the year by myself), I felt connected with the world and wanting to embrace everyone in it.
Bram Stoker’s Dracula
Bram Stoker’s Dracula (1992)
★★★ / ★★★★
Gary Oldman stars as Count Dracula, a man who found his love named Elisabeta (Winona Ryder) died after he arrived from the war. The priests did not want to give Elisabeta a proper burial because she committed suicide. This angered Dracula, denounced God and was cursed to live for eternity lusting for blood. Hundreds of years later, Jonathan Harker (Keanu Reeves) was assigned to help Dracula to buy some property in London unknowing of the vampire’s true intentions. Eventually, Dracula set his sights on Harker’s wife (also played by Ryder) because she looked exactly like his former lover and Dr. Van Helsing (Anthony Hopkins) stepped in to help. I’m not entirely convinced on whether to recommend this picture. While I did find the asthetics magnificent and the execution of the story to be just fine, some crucial elements did not meet my expectations. I thought it sacrificed a lot of the terror for the sake of romance. When I watch a movie about Dracula, I expect to be suspended in suspense instead of watching him yearn over a lover. I thought the best scenes in the film were in the first half. There was something extremely creepy about the whole vibe of the castle when Jonathan visited Dracula in Transylvania. Every shadow and dark corner of the room felt menacing as if something seriously wrong was about to happen. The soundtrack was used sparingly so that the audiences could hear every creak and footstep made in the castle. The second half of the movie felt exactly the opposite. There were overt sexual references, consistent loud noises and the pacing became static. While it still remained elegant, I began to feel more apathetic toward each character when I should have been rooting for them because lives were at stake. Regardless of its flaws, I was still curious on what was going to happen next because Francis Ford Coppola, the director, had interesting techniques when it came to presenting his audiences gothic imagery. Coppola spent too much of his time with the images and asthetics of the picture that he somewhat neglected his characters and where the story was going. I’m not sure how closely this followed Bram Stoker’s original 1897 novel because I haven’t read it. But I must say that it definitely took me back to that time period. So in terms of escapism, I think this movie did a good job. However, when I try to really analyze it piece by piece, I’m not that impressed with it. It’s the strangest feeling.
Interview with the Vampire
Interview with the Vampire (1994)
★★★★ / ★★★★
After being caught up with the “True Blood” craze, I decided to visit some of my favorite vampire movies. “Interview with the Vampire,” directed by Neil Jordan, was one of those movies I saw in early high school that I loved but forgot the details as years went on. I’m surprised this one strongly held up against other horror pictures, especially vampire movies. It’s something I didn’t quite expect because the movies I used to think were scary when I was younger turned out to be silly and vapid in storytelling. Tom Cruise stars as Lestat, a vampire who was as equally hungry for blood as he was with power. He one day decided to make Louis (Brad Pitt) into a vampire because, at least according to him, he wanted to give Louis a choice to relieve his pain of losing his wife and child. Despite turning into the undead, Louis still managed to hang onto his humanity by refusing to feed on humans. This bothered Lestat and thought that Louis’ loneliness would be eliminated by giving Louis a companion–in a form of a vampire child played by Kirsten Dunst. But this all happened in the past as the details which covered centuries were revealed by Louis to an enthusiastic reporter (Christian Slater). Although I did read the novels by Anne Rice, I only could remember three things: Louis, Lestat and the passion (both good and bad) between the two. What made me really engaged about this film was not because it was scary in content. I was actually more into Louis’ humanity, his efforts to abstain from human blood, and his eventual search for those who were like him. That romanticism was reflected into the elegant designs of each room in the 18th century to the dark corners of the catacombs. Another thing that was interesting was Kirsten Dunst. As an adult actress, she bores me to death because every emotion she wants to portray on screen feels the same. But in this film, she had range: she was quite magical, menacing, fascinating all rolled into one. For me, “Interview with the Vampire” is a great vampire film because it makes the argument that vampires have the capacity to choose to be good instead of just being one-dimensional fiends who crave blood and live for centuries. Although necessary to paint the nature of vampire, the gore, the violence, and the evil were secondary. It was consistent, thrilling, and very interesting.
Dance Flick
Dance Flick (2009)
★★ / ★★★★
Damien Dante Wayans directed this parody about a girl (Shoshana Bush) who moves to the city with her father after her mother dies on the way to her dance audition. With the help of a friend (Essence Atkins), she’s able to meet others, open up a little more and fall for a guy (Damon Wayans Jr.). If that sounds familiar, that’s because that’s pretty much what “Save the Last Dance” was about. But this movie takes it a bit further by adding in “Step Up,” “Step Up 2 the Streets,” “High School Musical,” and “Hairspray” into the mix with occassional popular references to icons such as Britney Spears, Halle Berry, and the like. As accessible as those references were, I liked that Wayans added some less popular jokes such as from movies like “Black Snake Moan.” As idiotic as this movie was, I somewhat enjoyed it because I saw it when I was in the mood for watching something where I don’t have to think. I also liked the fact that it showed some vignettes where it revealed the stupidity of the plot or meaningful of certain dance movies. For instance, in “Step Up 2 the Streets,” people constantly had to fight for “respect” (whatever that means) instead of focusing on issues that would most likely impact their futures like education and working toward achieving something most people would assume to be impossible. This movie’s ability to bluntly present issues like that made me like it because I hardly think fighting for so-called respect should be the main drive of young people today. Still, the movie consistently lost focus such as whenever it would refer to something ridiculous like “Twilight.” In my opinion, if such in-your-face spoof pictures should stay in their own universe. That glaring decision to show something so out of the blue was not only unfunny, it also reflects desperation. “Dance Flick” could have been so much more fun if it had its act together. After all, there are a lot of dance movies out there to make fun of because they take themselves too far. The difference between those and this movie is that “Dance Flick” knows it’s being ridiculous.
Dead Drop
Franz Patrick. 21. Cinéphile. Medicine. Biology. Psychology. Writing. BtVS. Alias. ANTM. Alt-Rock. Indie Rock. Soundtrack. Imagination. Introspection. Extrospection. Self-actualization. Transcendence.
Bona Fides
THRILLER
Blood Simple (1984)
If you point a gun at someone, you'd better make sure you shoot him, and if you shoot him you'd better make sure he's dead, because if he isn't then he's gonna get up and try to kill you.
The Talented Mr. Ripley (1999)
Don't you just want to take the past and put it in a room in a basement and lock the door and never go in there? That's what I do. And then you meet someone special and all you want to do is to toss them the key and say, "Open up, step inside." But you can't because it's dark, there's demons and if anybody saw how ugly it is... I keep wanting to do that, fling the door open, just let light in and clean everything out.
American Psycho (2000)
There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.
In Bruges (2008)
#1, why aren't you in when I fucking told you to be in? #2, why doesn't this hotel have phones with fucking voicemail and not have to leave messages with the fucking receptionist? #3, you better fucking be in tomorrow night when I fucking call again or there'll be fucking hell to pay. I'm fucking telling you - Harry.
North by Northwest (1959)
Now you listen to me, I'm an advertising man, not a red herring. I've got a job, a secretary, a mother, two ex-wives and several bartenders that depend upon me, and I don't intend to disappoint them all by getting myself "slightly" killed.
DRAMA
Before Sunset (2004)
What’s sad, in a way, is that the people that are the most giving, hardworking, and capable of making this world better usually don’t have the ego and ambition to be a leader.
The Dreamers (2003)
I was one of the insatiables. The ones you’d always find sitting closest to the screen. Why do we sit so close? Maybe it was because we wanted to receive the images first–when they were still new, still fresh; before they cleared the hurdles of the rows behind us; before they’d been relayed back from row to row, spectator to spectator; until worn out, secondhand, the size of a postage stamp, it returned to the projectionist’s cabin. Maybe, too, the screen was really a screen. It screened us… from the world.
Mysterious Skin (2004)
As we sat there listening to the carolers, I wanted to tell Brian that it was over now and that everything would be okay. But that was a lie. Plus, I couldn’t speak anyway. I wish there was some way to go back and undo the past. But there wasn’t. There was nothing we could do. So I just stayed silent and tried to telepathically communicate how sorry I was about what happened. And I thought of all the grief and suffering and fucked up stuff in the world and it made me want to escape. I wished with all my heart we could just leave this world behind. Rise like two angels in the night and magically disappear.
Closer (2004)
It’s a lie. It’s a bunch of sad strangers photographed beautifully, and all the glittering assholes who appreciate art say it’s beautiful ’cause that’s what they wanna see. But the people in the photos are sad, and alone. But the pictures make the world seem beautiful, so… the exhibition is reassuring which makes it a lie, and everyone loves a big fat lie.
Imaginary Heroes (2004)
Look, you can tease, torture, punch, drive drunk with me. I can forgive you. Hell, I can understand it, I'm a good Christian. You know, I can forgive and forget. But you mess with my kid, and may God himself descend from heaven to protect you. Because as long as I live--and I will outlive you all--I will wake up, and go to sleep at night, just dreaming up ways to make your petty, insignificant lives into hell on earth. You fuck with my kid again, you fuck with him... and I will fuck with everything you hold dear.
HORROR
Halloween (1978)
I met him fifteen years ago. I was told there was nothing left. No reason, no conscience, no understanding; even the most rudimentary sense of life or death, good or evil, right or wrong. I met this six-year-old child, with this blank, pale, emotionless face and, the blackest eyes… the devil’s eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized what was living behind that boy’s eyes was purely and simply… evil.
28 Days Later (2002)
It started as rioting. But right from the beginning you knew this was different. Because it was happening in small villages, market towns. And then it wasn't on the TV any more. It was in the street outside. It was coming in through your windows. It was a virus. An infection. You didn't need a doctor to tell you that. It was the blood. It was something in the blood. By the time they tried to evacuate the cities it was already too late. Army blockades were overrun. And that's when the exodus started. Before the TV and radio stopped broadcasting there were reports of infection in Paris and New York. We didn't hear anything more after that.
The Exorcist (1973)
Especially important is the warning to avoid conversations with the demon. We may ask what is relevant but anything beyond that is dangerous. He is a liar. The demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien, and powerful. So don't listen to him. Remember that--do not listen.
The Shining (1980)
Well, you know, Doc, when something happens, you can leave a trace of itself behind. Say like, if someone burns toast. Well, maybe things that happen leave other kinds of traces behind. Not things that anyone can notice, but things that people who "shine" can see. Just like they can see things that haven't happened yet. Well, sometimes they can see things that happened a long time ago. I think a lot of things happened right here in this particular hotel over the years. And not all of 'em was good.
Scream (1996)
If you were the only suspect in a senseless bloodbath, would you be standing in the horror section?
SCI-FI / FANTASY
2001: A Space Odyssey (1968)
The 9000 series is the most reliable computer ever made. No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.
Jurassic Park (1993)
I’ll tell you the problem with the scientific power that you’re using here: it didn’t require any discipline to attain it. You read what others had done and you took the next step. You didn’t earn the knowledge for yourselves, so you don’t take any responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could and before you even knew what you had you patented it and packaged it and slapped it on a plastic lunchbox.
A.I.: Artificial Intelligence (2001)
She does not love you, David; she cannot love you. You are neither flesh, nor blood. You are not a dog, a cat, or a canary. You were designed and built specific, like the rest of us. And you are alone now only because they’re tired of you, or replaced you with a younger model, or were displeased with something you said, or broke. They made us too smart, too quick, and too many. We are suffering for the mistakes they made because when the end comes, all that will be left is us.
Minority Report (2002)
It’s funny how all living organisms are alike. When the chips are down and the pressure is up, every creature on this earth is interested in one thing and one thing only. Its own survival.
The Dark Knight (2008)
Do you want to know why I use a knife? Guns are too quick. You can't savor all the... little emotions. You see, in their last moments, people show you who they really are. So in a way, I know your friends better than you ever did. Would you like to know which of them were cowards?
FOREIGN
Les roseaux sauvages (1994)
There are times in life where we are set major challenges, and it is all about how we react to them that counts the most.
Le voyage du ballon rouge (2007)
ACTION
Bourne Series (2002-2007)
I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?
Indiana Jones Series (1981-2008)
Since I've met you I've nearly been incinerated, drowned, shot at and chopped into fish bait. We're caught in the middle of something sinister here. My guess is dad found out more than he was looking for and until I am sure I am going to continue to do things the way I think they should be done.
Kill Bill (2003)
As I lay in the back of Buck’s truck, trying to will my limbs out of entropy, I could see the faces of the cunts that did this to me and the dicks responsible. Members all of Bill’s brainchild: The Deadly Viper Assassination Squad. When fortune smiles on something as violent and ugly as revenge, it seems proof like no other, that God exists, and not only does He exist, you’re doing His will.
COMEDY
(500) Days of Summer (2009)
I hate her crooked teeth. I hate the way she smacks her lips before she talks. I hate her 1960s haircut. I hate her knooby knees. I hate the way she sounds when she laughs. I hate the cockroach shaped splotch on her neck.
Get Real (1998)
When I was in the cubs, there was this porn mag being passed around and all the other kids were deciding which girl they liked and stuff. And this other kid, he whispers to me, "I don’t know what all the fuss is about. I’d rather see another boy’s willy any time!" So I said, "So would I!"
Nick and Norah's Infinite Playlist (2008)
Look, other bands, they want to make it about sex or pain, but you know, The Beatles, they had it all figured out, okay? "I Want to Hold Your Hand." The first single. It's effing brilliant, right? ...That's what everybody wants, Nicky. They don't want a twenty-four-hour hump sesh, they don't want to be married to you for a hundred years. They just want to hold your hand.
Kiss Kiss Bang Bang (2005)
I call it my "faggot gun" because it's only good for a couple of shots and then you have to drop it for something better.
Cashback (2006)
Crush. It's funny how the same word for the feeling of disappointment can be used for the feeling of attraction. The Oxford English Dictionary states one of the meanings for the word crushed as "a strong and unreasoning, but transitory attachment."
Wilderness of Mirrors