O
Object of My Affection, The
★★★★ / ★★★★
A splendid film indeed. I forgot how this film captured a crucial part of me the first time I saw it. Years later, after seeing it for the second time, I realized how young I was when I saw this film. This is one of those pictures that made me want to look closer at movies. Anyway, Paul Rudd breaks my heart every time I see his movies. I guess he’s just one of those actors that is extremely charming; that any film or television show he appears in will be a delight. Jennifer Aniston creates a star-making performance that separates her from her “Friends” cast. Along with this movie, “Friends With Money” and “The Good Girl,” she proves that she’s not a one-hit wonder. Lastly, the thing that I admire about this movie is that it’s more about the relationship between friends than the relationship between lovers… and elevating that issue to a new platform.
Observe and Report (2009)
★ / ★★★★
Was this supposed to be a comedy? I was skeptical because the laughs were very sporadic and the drama sometimes overshadowed the jokes. Seth Rogen stars as a mall cop who one day decided that he was going to be a police offer in order to impress a makeup counter girl (Anna Faris). When a flasher started pulling off stunts at the mall, Rogen’s character thought that by catching the guy, it would solidify his place in the police academy. But a detective (Ray Liotta) was also determined to catch the flasher and he would do anything in his power to stop the lead character from achieving his goals. I thought this movie was going to be light because of the cast. It turned out that our lead character had Bipolar Personality Disorder (BPD) and that was often made fun of by showing that he was violent, quick-tempered and had delusions of grandeur. I didn’t appreciate it at all because I’ve learned about people with BPD and it is far from a laughing matter. But the so-called jokes didn’t stop there. I also didn’t like the all-too-common gay jokes; there’s a way to be politically incorrect yet still remain funny as long as the jokes are good-natured and everyone is in on a joke. This one simply started throwing things out there in a random fashion without some minute thought regarding its writing and direction. The best scenes in this picture were anything with Faris in it because I think she’s just naturally funny and charismatic even if the quality of the material doesn’t give her justice. But at the same time I think she’s miscast because the lead character was supposed to realize that the girl he liked didn’t like him back–at least not while sober–and she was just using him for convenience. Faris’ character needed some more aggression and maybe even a bit of sexiness and darkness. Nonetheless, the rest of the picture didn’t quite hold up because all of the characters are more like caricatures. Everyone is playing the extreme stereotype (especially the alcoholic mother played by Celia Weston) and I quickly got tired of it. Written and directed by Jody Hill (“The Foot Fist Way”), “Observe and Report” was a huge disappointment considering that the cast’s talent was completely wasted in one-note jokes and unfunny (in fact, quite cringe-worthy) slapstick.
Obsessed (2009)
★ / ★★★★
Directed by Steven Shill, “Obsessed” was a whole lot of nothing. The supposed story was that a temp named Lisa (Ali Larter) started to flirt with her boss (Idris Elba), but he didn’t realize that she was essentially a crazy stalker. At first it was sort of harmless–a look here, a glance there–but it eventually turned ugly–date rape drug here, attempted suicide there. Elba’s character stupidly kept everything that was happening around him a secret from his wife (Beyoncé Knowles) so he looked guilty when everything came out in the open. I honestly did not care less about the drama behind the characters’ lives. I just wanted to see Larter and Knowles fight it out in the end. Almost all of the characters here were unlikable: Elba, arguably, did send the wrong signals to Lisa which prompted her to think that he wanted her so he was not entirely blameless, Knowles was a suffocating and clingy housewife, Elba’s co-workers and supposed best friend did not know when to be serious and I felt like I was watching a bunch of high school pricks whenever I saw them on screen, and, well, we were supposed to hate Larter because she was the villain, but I hardly think she did that much of a good job either. As far as comparisons to “Fatal Attractions” goes, Larter did not come close to Glenn Close’s level of delusion and insanity. In some parts, I thought it almost became a farce of lunatic femme fatales because of all the unintentionally funny one-liners. I think it took itself way to seriously to the point where it collapsed on its own attempt to entertain. But even I have to admit the the trailers got me interested; it looked intense and it seemed to have a lot going for it. It goes without saying that I’m not going to give this a recommendation. Even then I think I’m being lenient on it because I’ve seen really good films prior to watching it. I can just imagine what I would have written if I saw “Obsessed” on a bad day.
Ocean’s Thirteen
★★★ / ★★★★
It didn’t suck (for the lack of a better word) as much as “Ocean’s Twelve,” but not as good as the original, though it comes really close. Matt Damon is schmexy and awesome as usual, but Casey Affleck and Scott Caan definitely made this movie more fun. It’s nice to see that their motivation is a bit different this time around even though the story pretty much uses up the “Back to Basics” routine. I expected to have a good time watching this film and I got just that. If they do make “Ocean’s Fourteen,” (which I hope they do!) I expect it to have a little more edge… but still fun and silly.
Oldboy
★★★ / ★★★★
One of my friends saw the twist from a mile away but I wouldn’t say it’s predictable. Since I saw “Lady Vengeance” prior to this one, I kind of had low expectations so I was pleasantly surprised how much I enjoyed this film. I liked that throughout the movie, the mystery factor lingered and it tries to keep the audiences guessing. There were many beautiful images that can be found here such as the octupus scene, the fight in the hallway (1 vs. about 10), and the snowy environment at the end of the film. It was so poetic that I forgot I was watching a movie for a bit. In fact, it felt like I was looking at a painting or a statue. Min-sik Choi’s acting was both incredible and sad. You believe that he’s a man that’s been imprisoned and tortured for fifteen years because of the dark cloud that hangs over his head and wrinkles that signify a deep thirst for vengeance. The villainous Hye-jeong Kang is effective and terrifying, who I think matches the characterization of some of the most monsterous American villains in film history. If one is into revenge films, this is a must-see because it is multi-layered and never ceases to be fascinating both in character study and the unfolding events.
O Lucky Man!
★★ / ★★★★
Malcolm McDowell and Lindsay Anderson team up once again in “O Lucky Man!” a sequel to the exemplary “If…” McDowell plays Mike Travis, an ambitious and enthusiastic coffee salesman whose main goal is to attain financial success. I thought it was very interesting how he seems like a force to be reckoned with in the beginning of the film, but as it goes on and meets quirky, greedy and insightful characters, he seems so insignificant in comparison. Although its premise is a commentary on the evils of capitalism, the dry and dark humor are consistent. Although I didn’t understand some of the jokes because I don’t know much about business and economics, the ones I understand are clever and have a staying power that’s still relevant today; especially now that competition is at its peak and the American economy is not doing so well. This film’s strength lies in its surrealism: some of the actors play multiple characters (Ralph Richardson, Rachel Roberts, Arthur Lowe…) and the events that unfold are extremely out of the ordinary and a bit random (such as the medical facility that use human subjects). I also enjoyed listening to Alan Price’s songs because they reflect what Mike Travis is going through yet at the same time comments on where he should be going. However, I felt like the film digressed too much. Despite Mike Travis’ adventures all over England, I feel as though he didn’t make any genuine human connection that could potentially warrant his change-of-heart during the film’s third act. Yes, he did have inspirations from poets and philosophers but I feel like those aren’t enough to change a person, especially a person who’s obsessed with climbing the economic ladder despite everything that’s put on his way to distract him from that goal. The most interesting character, other than Travis, was Patrcia (played by Helen Mirren) and I wanted to know more about her. In the end, I feel a certain disconnect from this picture–which is strange because, when it comes to films that run for about three hours, I usually feel a certain inclination for the project. “O Lucky Man!” is an unfortunate exception despite its intelligence and brilliant acting from McDowell.
Omen, The (1976)
★★ / ★★★★
I know I’m in the minority here but I actually prefer the 2006 version with Julia Stiles and Liev Schreiber over this one. There were barely any genuine scares and I found it appalling that some people compare this to the masterful “The Exorcist” and “Rosemary’s Baby.” Sure, they have the anti-Christ issue as a commonality but quality-wise, this film is far from those classics. I did like the performances here, however, especially Gregory Peck and Lee Remick. I believed Peck to be the protective husband who did not want his wife to find out that their biological son had died so he adopted a baby behind his wife’s back. Remick was both funny and convincing during the parts where she was being attacked. As for Harvey Stephens, who played Damien, he’s creepy as hell and I thought he really was an anti-Christ personified. The little things he does like giving someone a certain look, grimacing when something bad happens to someone, pretending to be innocent when he’s in trouble… I wanted his character to die so badly. I’m not going to complain how predictable it was because I saw the 2006 version first and both movies are almost exactly the same. If I had seen this version first, I would’ve said that the 2006 version was the predictable one. Overall, I liked the dated visual effects (I like campiness in certain films), the story, and the awkward camera angles, especially during the kills. But I just can’t forgive the very slow scenes when Peck is discovering that the child he raised all those years really is the anti-Christ. It should have been heart-pounding and horrifying instead of tedious. After all, it’s supposed to be a horror film.
Once
★★★★ / ★★★★
A simple but thoroughly engaging film. Even though I bought the soundtrack months before I’ve seen this film, the songs are more powerful when I actually saw the actors perform it. Even though it’s a small movie, it delivers a big wallop because it tends to wear its heart on its sleeve. I enjoyed some of the film’s grainy look, shaky camerawork, and toned down dialogue. This is the kind of picture that thrives on the experience rather than technical workings. Even though the ending was extremely sad, looking back on it, everything was in perfect harmony, like most of the songs that came out of this film. One can tell that the two characters cared for each other but it doesn’t feel staged or forced. The film’s organic nature elevates its quality and therefore it is the kind of movie that well-worth multiple viewings. This is one of the best movies of 2007.
One Missed Call (2008)
★ / ★★★★
This was really hard to sit through because nothing made sense. I rarely say that about movies but this one felt like it was filmed for three days. I felt like the filmmakers didn’t even try to make a good movie. The visual effects were corny, the thrills were not present, and the characters were thick. The film immediately jumped to the scares, which was not an effective move because the audiences were not yet invested in the characters. In order words, it was hard to care. I usually like Shannyn Sossamon but even she couldn’t carry this picture. I keep picking my brain to come up with one good thing about the movie but I can’t recall one. I was bored from beginning to end; half-way through, I wanted to do something else (and I did while the movie was on). I just wish that Americans would stop remaking Japanese horror movies and come up with their own. This is really an embarrassment of the horror genre. I want to forget about it, but so darn bad. Stay away from this picture as far as you possibly can. It’s a waste of time.
One to Another
★★★ / ★★★★
Sexuality is flexible is the better message of this movie rather than what it tried to get across. In the end, though the lesson may sound profound on the surface, it’s stupid when one really thinks about it (if you decide to watch this movie, you’re just going to have to decide for yourself). Still, the incest scenes were fascinating and there’s a lot of eye candy to keep this film afloat. The most frustrating thing about this movie is that it jumped from past and present without any warning. At times, I found myself lost and confused. At the same time, it made me want to focus more on the story and what the narrator was trying to say, so it was, as a whole, a double-edged sword. Even though it lacked focus and an emotional punch, it was sometimes erotic. I wish Americans would make more films as bold as this one.
Open Water
★★★★ / ★★★★
People are quick to label this picture as a “bad movie.” I beg to differ. For an indie film, this is an amazing accomplishment. For a budget of basically nothing, I challenge you to create a movie that can generate as much tension as this film provided. Try shooting sharks swimming around actors. Hell, try HIRING actors that would do something crazy like swim with sharks for a couple hundred dollars. It’s no easy task. After watching this film, I couldn’t even imagine thinking of going to the beach. I was shaken for a while and I couldn’t help but wonder how the filmmakers made this movie. The story is simple here: a couple was forgotten by their diving group and the sharks wish to eat them. A tension-rich movie is the product. I’m always enthusiastic to recommend this film because I want more people to appreciate it. People often complain that they’re sick of “Hollywood movies that suck.” Well, believe it or not, great indie films ARE out there. People just refuse to open their eyes. The question is, are you to remain one of them?
Orphan (2009)
★★★ / ★★★★
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.
Orphanage, The
★★★★ / ★★★★
This is definitely not an ordinary ghost story because in its core lies a heart that radiates even after the credits stopped rolling. But that doesn’t mean that it lacks genuine scares. In fact, there is plenty of suspense, each on a different level. Some of my favourite scenes include the séance, the automobile incident, and when the main character participates in a childhood game. Such scenes made my heart pound as if I’m watching the best scenes of “No Country for Old Men.” I’m really impressed with this film because there were so many chances when it could’ve turned into a typical horror movie. Moreover, the characters’ choices are so natural, and thus it was easy for me to identify with them even though some scenes may seem supernatural. The ending was absolutely brilliant because it didn’t try to pull off a gimmick just for the hell of it. It actually made sense and everything started to come together. The ending also reminded me of “Pan’s Labyrinth” because of the implications about life and death. I thought everything about this picture is deftly handled and it made me wish that most American horror-suspense films are more like this, instead of visual-effects focused, Japanese horror remakes.
Other Boleyn Girl, The (2008)
★★★ / ★★★★
I didn’t know what to expect coming into this film. I heard from a friend that there were a lot of drama here so I decided to rent it. Plus, the trailers looked very promising. I’ve always wanted to see Scarlett Johansson go head-to-head with Natalie Portman because I see a lot of similarities with both actresses. Both of them delivered even though their characters are two polar opposites. I heard that the story is not necessarily accurate but I didn’t care because it was entertaining. It’s like watching a season finale of “One Tree Hill,” “The O.C.” or “Gossip Girl” when things are revealed in very dramatic ways and the characters (both good and bad) ultimately deserve what they get. I must commend Portman for being deliciously evil here because I’ve always seen her as a nice leading lady in movies. As for Johansson, I’ve always thought that she acts the same in every movie but she offers a different kind of tenderness here. I liked pretty much everything about this movie but I can’t quite give it four stars because the middle portion felt a little bit too long. Still, the supporting characters are interesting (such as Jim Sturgess), the costumes were grand, and I was constantly curious on what would happen next so I will recommend it to anyone who loves drama.
Others, The
★★★★ / ★★★★
Some people unjustly claim that this was a rip-off from “The Sixth Sense” (because both movies have ghosts in them and have a twist ending) but I am more than willing to argue that this is a movie of its own. Nicole Kidman perfectly embodies a cold-mannered mother who, despite of her intimidating aura, loves her children very much. I love the fact that we get to know her in a matter of seconds: she has no room for excuses, is devoutly religious, and likes structure. Written and directed by Alejandro Amenábar, right from the beginning we know that there’s something wrong with the characters, the place where they live, the fog that surrounds the mansion, and the broken memories of the children. However, we cannot quite put our finger with what exactly is wrong so figuring it out is half of the fun that this film had to offer. On our way to discover the big mystery, “The Others” is able to deliver genuine scares because we do not know what exactly is going on, aided by the fact that each corner of the room is covered in darkness (the children have a condition which involves their skin being sensitive to light so their mother is obsessed with locking every door and keeping the curtains closed). This movie proves that a horror story does not need special effects in order to generate thrill and tension. What it needs is a creepy atmosphere, unsettling setting, and a spice of great acting. Although pretty much everyone knows its ending by now (it’s quite unforgettable), it is still interesting to see the characters’ journey to enlightenment (and ours), how it elevates the tension, and how it reaches the conclusion. The filmmakers do not cheat its audience unlike many “horror” films out there that pull of a twist for the sake of “shock” value. This is the kind of movie that I do not mind watching again once in a while because it is so professionally done so I can’t help but appreciate its craft. And quite frankly, the more I watch it, the more I love and respect it because while it is a solid horror film, its religious implications took it to the next level. If one is to look closely, the movie is not anti-Christian, it’s pro-thinking.
Otto; or, Up With Dead People (2008)
★★ / ★★★★
Bruce La Bruce’s movie about a zombie named Otto (Jey Crisfar) was not something I expected. I thought it would be hybrid of horror and drama because I was aware that Otto was an unhappy undead who couldn’t tap into the memories he collected back when he was alive. I liked the style of this picture: some were in black and white, some were in color, other aspects were told in a linear manner, while some were in split-screen. All those different techniques worked for me because it kept me interested and sometimes the craft matched the lead character’s mood. The second thing I liked about this movie was that it was a movie within a movie. Otto was hired to play a zombie by an eccentric director (Katharina Klewinghaus) who wanted to comment on consumerism, intolerance (especially toward non-heterosexuals), and modernity. Even though there were times when I thought certain ideas were not explored enough, I did appreciate that I tried to achieve something. The third factor that I admired about this film was the main character. When he started to remember the memories he had with his ex-boyfriend, I questioned whether he was really dead. I thought him being a “zombie” was just a front because he would rather shut down instead of dealing with the pain of abandonment and hopelessness. I thought the whole thing was a metaphor for depression and a brilliant one at that. As the film went on, I felt as though he was becoming more alive as he realized that people did miss him and he was not insignificant. But what didn’t work for me was that the director’s ideas were so all over the place to the point where sometimes the messages contradicted each other. I also didn’t get what the connection was between sex and nudity to social contracts and the social problems. If that part had been clearer, especially since the idea took about half of the film to explain, I think this would’ve been a much stronger project. Ambitious ideas are great but one should support those ideas in a clear manner for evaluation and understanding. “Otto; or, Up With Dead People” is definitely not a commercial film because it actively challenges the conventions of storytelling. Most people would see this as pointless and meandering but I thought there was enough brain to warrant a slight recommendation. Its ability to take the zombie flicks upside down, such as the undeads’ ability to speak, think and restrain themselves from eating people, was fun to watch.
Outing Riley
★ / ★★★★
This is one of the weakest gay/lesbian films I’ve ever seen because it pretends to say something new about homosexual lifestyles and coming out of the closet. In reality, it’s a one-note joke gone bad because it ended up being condescending and downright insulting. Sophomoric jokes are effective in some films like “Superbad” because the characters who deliver those jokes are young. Here, we see thirty- or forty-something year olds delivering those jokes as if they were funny. Not to mention some of the jokes are completely mean-spirited. Twenty minutes into the film, I wanted the characters to grow up and act their age but they ultimately did not. They are annoying, close-minded people who need to take a real good look at the world. At times, I felt like that the writers and the directors are all straight men who have no idea how it’s like to keep homosexuality a secret and the overwhelming feeling of coming out of the closet. Those issues were dealt with in such a blase way, that it made me wonder why they made the movie in the first place. Regarding those scenes that are supposedly sad and sensitive, I just didn’t feel it because I wasn’t emotionally invested in the characters. This picture would’ve been a lot better if the adults acted more mature, made wiser choices both in action and words, and the script fresher and more sensitive to the issues that it tried to tackle. Skip this one because you’re not missing anything.
Out of Africa
★★★ / ★★★★
This film deserves its reputation for being one of the most sweeping romantic films of the 20th century. Directed by the great Sydney Pollack, this picture is grand in scope, not just when it comes to its cinematography, but also when it comes to complexity of its characters and emotions. Meryl Streep and Robert Redford lead the pack and they are nothing short of astonishing; from the moment they met until the end of the film, I thought they had chemistry and the scenes seem to pop whenever they would interact. I’ve always thought that Streep is one of the most elegant actresses to watch but she always surprises me, especially when I’d watch her older films. She has a way of making the audience like her character one minute but despise her the next. Her character here is a walking contradiction and I think that’s why I wanted to know more about her. This movie expertly tackles issues such as marriage, sense of belonging, the hardship of loving and being loved, freedom, education, women’s role in society, and race. Almost three hours long, this picture definitely took its toll on me, but the positive outweighs the long running time. I enjoyed the organic nature of it–how each scene seems to spill into one another in a very gratifying way. Some scenes that took my breath away include the plane cruising the African terrain, the nature of lions, and Streep and Redford’s discussion about marriage as either a want or a need. This is not the kind of film that I would recommend to people under 21, not because it’s explicit but because it’s the kind of picture that relates (and in turn appreciated) more to the older generation.
Out of Sight (1998)
★★ / ★★★★
I just had to see this movie because pretty much all the film critics I respect gave it a really enthusiastic recommendation. I don’t know if it’s because I was anticipating something more serious instead of a caper film with comedy that brings the “Ocean” franchise to mind, or if it’s just one of those movies that critics adored but I never got into. George Clooney stars as Jack Foley, a bank robber who one day escapes from prison. Right off the bat, he’s put into a room (well, more like the trunk of a getaway car) with the splendid Jennifer Lopez as a federal marshall. Eventually, the two realize the chemistry that they have and I thought it went downhill from there. Steven Soderbergh is an undeniably talented director but the way the story unfolded made me not care. While there was complexity in its non-linear storytelling, I felt like a lot of the characters were just running around without some sort of ultimate purpose. They were so blase to the point where I thought the only ingredient that was missing was for them to wink directly at the camera. Actors like Catherine Keener, Isaiah Washington, Steve Zahn, Michael Keaton, Samuel L. Jackson, and others seem to go in and out of the story and I was left confused because I thought that it would all come together at some point. Unfortunately, it never did and by the time the credits started rolling, the picture left a bitter taste in my mouth. However, I do admit that there were some pretty clever and funny lines from the script. Still, those bits and pieces weren’t enough to save the overall product. I wish that “Out of Sight” would’ve been a straight-up thriller. Perhaps then I would’ve liked it a lot more since it would have found a better footing when it comes to its tone. And while people remain to praise this film’s technical achievements, such as its freeze frame techniques for emotional purposes, I’m going to side with the minority and say that “Out of Sight” is not worth the two hours.
Over the Hedge
★★ / ★★★★
I love animated films but this one seriously lacked depth so it didn’t really live up to its potential. A lot of big names provided voices for this film, which I think made it more entertaining than it should have been. An hour into it, I got so bored, I wanted it to end (and it’s barely an hour and twenty minutes!). When it did succeed on providing the comedy, I must admit, I felt like I was watching a smart film that’s aimed for everyone, not just the kids. For instance, the particular scene when the raccoon comments about the bond that humans have for food. I did like turtle character but then, by the end of the film, he was more of a martyr than a leader. The squirrel was adorable but I was really distracted when Avril Lavigne would provide voice for the possum. It’s a definite hit-and-miss but I think children will like it because there’s a lot of objects flying around and bright colors. If one wants an animated film with many layers to the story, deep implications, and immensely lovable characters, one should turn to Pixar films instead.
Wilderness of Mirrors