Fair Game
Fair Game (2010)
★★★ / ★★★★
Valerie Plame (Naomi Watts) was a covert CIA agent who worked in the Anti-Proliferation program where she and her team gathered secret intelligence concerning possible weapons of mass destruction. She was connected internationally and she gained people’s trust even though their lives were on the line. But when a man in the government leaked her identity to the papers, with impunity, all for the sake of shallow revenge involving the article her husband (Sean Penn) wrote aimed to criticize the Bush administration, Valerie and her family’s lives were turned upside down my the media, politicians, and the people they knew back when they still had valuable anonymity. Directed by Doug Liman, “Fair Game” was an effective thriller about an injustice in America and the unnecessary betrayal Valerie had to go through just because some men wanted to remind themselves that they still had power. The acting was top-notch. Watts did a tremendous job in making Valerie sympathetic but not so much that we ended up feeling sorry for her. Instead, she controlled her character in such a way that, if we were in her shoes, we would be outraged by what was done to us, especially when all we wanted was what was best for our country. She was a smart and strong woman, fully capable of thinking on her feet, in a thankless job where they could easily deny connection to you when things went sour. I was surprised that she didn’t receive more acknowledgement for her performance here. Much of the film’s strength was the complexity she injected into Valerie. The suppressed emotions were just as vivid as the expressed. Penn was also wonderful as the husband hell-bent on finding some sort of elusive justice. Although not always making the smartest choices in which his strategy was to appear in all sorts of interviews to gain exposure, his persistence was admirable. I loved the scenes between Penn and Watts as they evaluated their marriage amidst the chaos of revealed identities and realizing that what they had romantically might be beyond repair. What’s more impressive was the picture worked even if it was based entirely on fiction. It was exciting because we cared for Valerie and her family, the enemy was invisible and powerful, and it offered no easy answer except for the fact that revealing a CIA agent’s identity, while very active in the field where other lives depended on her, was a crime. I thought “Fair Game” was brave for showing its audiences the nastiness and ugliness that happens in America just so we would have the comfortable illusion of control or prosperity. We (or most of us anyway while others remain in denial) are all the wiser of the incompetency of the Bush administration, but it isn’t any less maddening when we are reminded of the fact that we allowed charlatans to rule our country for eight years.
The Tree of Life
Tree of Life, The (2011)
★★★★ / ★★★★
Mr. O’Brien (Brad Pitt) and Mrs. O’Brien (Jessica Chastain) received a phone call informing them that one of their three sons, Jack (Hunter McCracken), R.L. (Laramie Eppler), and Steve (Tye Sheridan), had died. We knew it wasn’t Jack because we came to meet him as an adult (Sean Penn), still struggling with the death of his brothers, the other passed away at the age of nineteen. The writer-director, Terrence Malick, spent the rest of the film painting us a picture of the boys’ childhood, torn between nature and grace which their father and mother embodied, respectively. To criticize this movie as having a weak plot is tantamount to saying that an abstract painting is bad because one does not approve of the artist’s use of color since it makes the painting look unrealistic. In a few instances, such as the case here, plot is negligible. Personally, it was about the images and how they were utilized to remind myself of my childhood. It was set in 1950s American suburbia; I was raised in the 1990s Philippine urban-suburban neighborhood. The two are separated by place and time but I saw myself in these kids. It reminded me of times when I ran around with my cousins playing kickball, egos bruised for every lost point; the joy of collecting caterpillars, grasshoppers, spiders, lizards, stray cats at a nearby ice plant, which children of the neighborhood likened to believe was abandoned so we could call it our own turf; the way mother would yell for me and brother, beckoning us to come in for dinner, chastising us when we were too grimy as we approached the table, and making us clean up a bit before experiencing the comfort of a warm home-cooked meal. It also reminded me of the things I didn’t have. Father was in America making a living for his family, so no one taught me how to put up my fist properly and fight. First fight at school gets bloody awful quick when you don’t know how to defend yourself. But sooner or later you learn to get tougher. You find ways as Jack did with his brother, not because he was bully or meaning to be unkind, but because he needed to find a sparring partner, someone who he believed was his equal. The most moving scene for me was when Jack, after shooting a rubber bullet at R.L.’s index finger, summoned the courage within himself to apologize to his brother without anyone telling him to do so. It was such a tender moment because apologizing and, more importantly, actually meaning it can be very difficult to do. I admired Malick’s use of contrast. He featured an extended sequence starting from The Big Bang up until the Cretaceous-Tertiary Extinction. In one of the scenes, a carnivorous dinosaur spotted a fatally wounded dinosaur resting on the rocks. The healthy one approached the dying carefully, making sure that there was no immediate threat in the vicinity. Just when I thought it was going to go for the kill, I saw a human aspect in something so beastly: the healthy one covered the wounded’s face with its foot, hesitated against its nature, and walked away. The scene was loyal to the film’s theme: nature versus grace. “The Tree of Life” is a torrent of epic memories, bound to move those in touch with their wonderful, tragic, magical childhood. It’s one of those movies I won’t forget because, in a way, I’ve lived it.
Zoom In: Stories Behind the Best Independent Films of 2007
Zoom In: Stories Behind the Best Independent Films of 2007 (2007)
★★★ / ★★★★
2007 was one of my favorite years for movies released in the year 2000s because independent movies demanded to be noticed. My top ten favorite movies from that year largely consisted of indie films. Mario Diaz’ documentary discussed the hard work in getting independent movies financed, the long and arduous process of making such films, and hopefully getting them picked up by studios for wider distribution. It also highlighted the role of the renowned Gotham Awards in putting the spotlight on indie pictures so they could have a chance to be seen by audiences all over the world. Some successful passion projects included (but not limited to) Sean Penn’s free-spirited “Into the Wild,” the Coen Brothers’ ruthless “No Country for Old Men,” Tamara Jenkins’ vitriolic and wildly amusing “The Savages,” Todd Haynes’ philosophical “I’m Not There,” and Jason Reitman’s verbal exercise that was “Juno.” On the other side of the spectrum, although it did win key Gotham Awards, movies like Craig Zobel’s “Great World of Sound” didn’t quite captivate audiences in a worldwide scale. It was great to hear from the aforementioned filmmakers about what their movie meant to them. It was a nice reminder, especially for people like myself who watch hundreds of movies each year, that every film should be approached with an open mind. And if it somehow underwhelms us, it’s important to treat it with respect and explain why, in our opinion, it just didn’t work for us. Because all movies, whether they be good or bad in our eyes, have a story to them. The directors, the crew, the actors, and the producers take the time and the money to create something that would hopefully pass as a work of art. I think my love for independent feature films stemmed from the similar themes they so often tackled: identity, one’s place in the world, one’s relationship with others, and the way an individual received, processed, evaluated information, and how one’s thought differed from one’s actions. Independent movies appeal to me because I was going through those very same themes back in the tenth grade when I was just beginning to see movies as more than a source of entertainment. I was drawn to their daring subject matter, complex characterizations, and shocking honesty. I think that parallel will always be a part of the way I see motion pictures. That’s why I always lend a critical eye to the characters and the way they attempt to deal with and adapt to their specific circumstances. The documentary also shed light to the fact that women filmmakers weren’t as high profile and prolific as their male counterparts. It’s unfortunate because I strongly believe that women, in some ways, view things differently than men and it will benefit the world if women’s visions are shared just as equally as men’s. “Zoom In: Stories Behind the Best Independent Films of 2007″ needed an extra thirty to forty minutes for more in-depth exploration, but it managed to tackle many interesting ideas with the time that it had.
The Thin Red Line
Thin Red Line, The (1998)
★★★★ / ★★★★
An AWOL soldier, Private Witt (James Caviezel), had never been good at following orders. When ordered to go left, he turned right. But when he was found in a Malaysian island by 1st Sgt. Edward Welsh (Sean Penn), Pvt. Witt, as punishment, was assigned to be a stretcher bearer in the Battle of Guadalcanal. The attack was led by Capt. James Staros (Elias Koteas) and his superior Lt. Col. Gordon Tall (Nick Nolte). The former wouldn’t obey the latter’s orders because he believed that sending his men forward was suicide. The Japanese bunkers were too far and too hidden for a typical affront. Lt. Col. Tall wasn’t convinced. Based on the autobiographical novel by James Jones and beautifully directed by Terrence Malick, “The Thin Red Line” was fascinating because it combined the horrors of war with spirituality. We were given the chance to hear a soldier’s thoughts, American and Japanese, about his place in the world, trepidation in terms of facing his mortality, and the loved ones he left behind. While the action scenes were raw and unflinching, I was most impressed with the way the soldiers played the hand they’ve been given. Some made rookie but dire mistakes out of panic (Woody Harrelson), some succumbed in fear and would rather be invisible (Adrien Brody), while others were distracted by flashbacks, wondering whether someone was still waiting for them at home (Ben Chaplin). The film highlighted that war was not as simple as two sides fighting for a cause. In a way, the battlefield was a glorious arena in which we had to fight ourselves. While good soldiers trusted their instincts, orders, too, must be obeyed. The conflict between instinct and duty could break a man. I was most interested in Pvt. Witt because he looked at his enemies with serenity. Unlike his comrades, not once did he show hatred toward the soldiers on the opposite side of the mountain. I wondered why. If I was in his position, I’m not quite sure if I could look at my enemies as if they were my equal. I would probably see them as lower animals and treat them as such. I just don’t think I can be as forgiving if I knew that my friends and comrades died because of them. Pvt. Witt mentioned that “maybe all men got one big soul everybody’s a part of, all faces are the same man.” Malick used images to underline man’s place in nature. There were zen-like shots of soldiers just sitting around and admiring, for example, a plant. It took them out of the situation, even for just a few seconds, until the voice of their leader urged them to go on. There were several shots of birds, flying in sky or dying on the ground, which symbolized either glory or pain. “The Thin Red Line” was sensitive and intelligent. It tried to find answers in a place where answers were as transient as they were permanent.
21 Grams
21 Grams (2003)
★★ / ★★★★
“21 Grams,” written by Guillermo Arriaga and directed by Alejandro González Iñárritu, tells the story of a dying patient (Sean Penn), a mother (Naomi Watts) and an ex-convict (Benicio Del Toro) and how their lives collided in one tragic afternoon. The first time I saw this movie back in 2003, I wasn’t impressed. Seven years later, I decided to see it again because both critics and audiences liked it so maybe I just missed something. Unfortunately, I was right the first time. I’m not much of a fan of movies that try to tell their stories out of order unless they’re done extremely well because I think there’s just an innate narcissism in that technique. Instead of focusing on the story, the audiences become distracted and that’s exactly how I felt as I navigated my way through this picture. I was not convinced at all that the technique was necessary to enhance the experience because I’ve seen the same kind of plot time and again. However, even I have to admit that performances from the three leads were very strong. The actors were successful in implementing layers to their characters and it was great how sometimes their body languages were more expressive than the words they’ve spoken. I was particularly fascinated with Watt’s character: how she dealt with the loss of her family and how she almost regressed to the time in her life when the only way she knew how to cope was to drown herself in drugs and alcohol. I empathized with her character and I wanted her to overcome all the pain she had to bear. I also liked the look of the film because not only did it look like it could take place in the real world but the feeling it had highlighted the characters’ struggles. Their mental states reflected their surroundings such as a dingy hotel room, a house lacking in color, or an impersonal room in a hospital. I appreciated those details because I felt like the writer really put some thought into the material. Unfortunately, I just can’t recommend the film because it got too caught up in its own gimmick. Instead of really honing in on the themes and ironies of the picture, it was too focused on making the precise places where to cut to take us to a different scene and then coming back to it later when our feelings of anticipation have been somewhat diminished. If this had been told in a linear way, I think some of the clutter wouldn’t have been there. I also would have liked it if the film had tackled the issue of 21 grams a lot earlier instead of stapling it in the end. In fact, it almost felt as though it was footnote. “21 Grams” might impress people who haven’t seen a lot of movies like it, but I thought it was just mediocre despite the daring performances.
100 Favorite Films of 2000-2009 (30-21)
30
American Psycho (2000)
Even though there were many great things about this movie I felt like it was seriously lacking something. But I think that was what the movie was trying to tell its audience: something might look stunning on the outside but inside there might lie a big black hole that can never be filled. I’ve seen most of Christian Bale’s films and this is one of his finest performances. Although he may seem extremely charming on the outside, the way he harbors his cravings for a kill in order to calm his inadequacies was brilliant. His inner freak-outs were memorable and darkly amusing. The tone of the film looked sleek and modern but the shadows during the night might suggest something darker and primeval was at hand. “American Psycho,” based on the novel by Bret Easton Ellis and directed by Mary Harron, was above all else a great character study of a narcissistic man on the brink of a breakdown.
29
Hedwig and the Angry Inch (2001)
Written, directed by and starring the talented John Cameron Mitchell, “Hedwig and the Angry Inch” is my favorite musical of the decade but it was actually more than a musical. It was about the many impacts of Hedwig’s unsuccessful sex change operation that left him with “an angry inch.” I love this film because it was kitschy so it made me laugh, the songs were very catchy and insightful and in its core was a message about totally loving one’s self despite (or especially) the flaws. It’s so frustrating whenever I try to recommend this film to friends (most of my friends are straight) because they assume that it’s merely about a sex change operation. Admittedly, it is a topic that not many people want to discuss, let alone watch an entire movie about. But it really is quite poignant and I found it very moving when I saw it for the very first time.
28
Revolutionary Road (2008)
Directed with great skill by Sam Mendes, he tells the story in a non-linear fashion and it works because the audiences are asked to immediately contrast how the couple was like when they met and after they’ve been together for a couple of years. The reason why I loved this film was that I got to watch these two extremely talented actors (with great chemistry) scream at each other for long periods of time; they gave me some sick satisfaction because they were so good at it. Even though the tone of the film was sad and depressing, there were pockets of unforgettable darkly comic moments. I don’t know what it is about me but I always find something amusing when it comes to depressed rich people living in suburbia. This is the kind of movie that I would recommend to couples everywhere who think that they’ve fallen in love after only going out for a short amount of time. It works as a cautionary tale for people who believe in love at first sight.
27
(500) Days of Summer (2009)
“(500) Days of Summer,” directed by Marc Webb, is for movie lovers who love watching films showcasing real-life instead of films imitating real-life. There is a subtle but important difference between the two and this one is well aware of that line it daringly treads. By the end, others may be saddened by Tom’s (Joseph Gordon-Levitt) journey from naiveté to awareness or be uplifted with the possibilities that face him. I belong with the latter because I believe in the necessity of sacrifices for the learning experience. Others may be frustrated with the choices Summer (Zooey Deschanel) made during her relationship with Tom. Webb managed to capture how it was like for a twentysomething to feel lost in the world but still have that glimmer of hope that things would ultimately turn out for the better. Maturity is one of this film’s biggest strengths and it was always at the forefront. I dare say this film was one of the best romantic comedies ever made.
26
El espinazo del diablo (2001)
“El Espinazo del diablo” or “The Devil’s Backbone,” written and directed Guillermo del Toro (“Hellboy,” “Pan’s Labyrinth”), was about a newcomer in an orphanage named Carlos (Fernando Tielve) and the dark secrets that were about to unfold during his short stay. I love the fact that the film started off trying to define what a ghost was. When the proposed definitions seemed unfit, it jumped into the story and actually showed us what a ghost could be. The organic manner in which all of the various elements involving the characters and the extremely atmospheric orphanage was exemplary. I saw this film back in 2002 or 2003, liked it, forgotten about it, and since then became a sleeper hit. I’m not surprised at all because it was so well done. There’s still a lot of people out there that haven’t seen the movie and they really should because it takes ghost stories on a new level.
25
The Others (2001)
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. 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. 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.
24
28 Days Later (2002)
The first time I saw this film, directed by Danny Boyle, I was in total awe because of how well-written and well-executed it was. Cillian Murphy was electric as a man who wakes up in a London hospital, completely unaware that the city has been evacuated… and the ones left are the hungry undead. I must admit that I love placing myself in his shoes, knowing that all of it is fictional. But when I actually had a dream that was extremely similar to this film, I was absolutely horrified and woke up soaked in sweat, my heart pounding like mad. The tone of the film was nothing like I’ve ever seen in a horror movie, which was really refreshing. The use of silence was masterful and the scares were first class. “28 Days Later” revolutionized zombie flicks because it introduced the idea that zombies could run like sprinters. Years later, (less quality) zombie movies copied the concept.
23
Into the Wild (2007)
Based on a book by Jon Krakauer and directed by Sean Penn, I love that “Into the Wild” is not just about one thing; it’s not just about Christopher McCandless (Emile Hirsch), or family dynamics, or the people one meets on the road, or the life lessons learned (or not learned). It’s about all of those elements combined which made it reach a completely new, raw and captivating level. My favorite scenes are with Hal Holbrook because everything felt sadder, happier yet heavier, and lighter at the same time. There was that one scene when Hirsch and Holbrook sat on this hill and Holbrook says, “When you forgive, you love. And when you love, God’s light shines upon you.” And suddenly the clouds parted and the sunlight fell upon them. I’m not a religious person but that really got to me though I don’t know exactly why… or for way too many reasons. For me, it’s not about a sign that God or a higher power exists–it’s more about the message of what was said and what was left unsaid between the characters, between the landscapes and those that live in and on them, between the film and the audiences.
22
Encounters at the End of the World (2007)
Prior to watching the documentary, I expected to see strange creatures and jaw-dropping landscapes of Antarctica. What I didn’t expect was fascinating human stories of those who live, work, and research that unknown continent. This film really opened my eyes; this may sound stupid but when I think of Antarctica, I think of penguins and endless desert of ice. I don’t think of people actually living there for years–not just living there for the sake of work but actually living there because they feel like they belong there. Werner Herzog, the director, features different kinds of people who have some kind of amazing stories tell. Watching this picture was like a tour of Antarctica. Not only do the audiences get to hear seals communicate with each other, go through survival training during intense ice storms, and see hypnotic landscapes, they also get a chance to think philosophically: how it’s a priviledge for humans to live on this Earth and how one day we will become extinct and nature will regain its place.
21
Where the Wild Things Are (2009)
“Where the Wild Things Are,” directed by Spike Jonze and based on a children’s book by Maurice Sendak, tells the story of a boy named Max (Max Records) and where his mind goes after going through a very tough confrontation with his mother (Catherine Keener). As a person who has taken courses on child psychology, I think the writing is exemplary. A lot of people may think that Max is just a kid who is self-absorbed and immature. But has anyone really met a nine-year-old who does not have any of those qualities? I can barely even name an adult who is not at times self-centered and lacking maturity. While there definitely are cute images, Jonze took the material to the next level and it really delves into many emotions such as sadness, confusion, isolation, not being heard or considered an integral part of a group, anger, jealousy, and even depression. I loved the fact that it’s rough around the edges and far from a typical movie where everyone goes “Aww” and easily label it as a great movie. Yes, it’s a very polarizing picture. However, it’s very rewarding film if one makes an effort to see some parallels between Max’ reality and imagination.
100 Favorite Films of 2000-2009 (40-31)
40
Harry Potter (Series) (2001-present)
The “Harry Potter” franchise, adapted from J.K. Rowling’s novels, continues to impress me with each movie that is released. What I love about “Harry Potter” in general is the fact that even though it is set in a magical world with colorful characters abound, it never loses its emotional core. That is, how it is like to grow up and the emotional highs and lows that comes with that journey to maturity. There’s something special with each installment that I can’t help but connect with because it reminded me of some of my own experiences whether it’s mood swings, the feelings of not being good enough and others. In a way, the magical happenings can work as a metaphor for the unknown that challenges and forces us to be stronger people. Daniel Radcliffe, Rupert Grint and Emma Watson should be proud of themselves for tackling and sticking with such a monolith of a series that never loses magic.
39
Shelter (2007)
I have a weakness for characters who desperately try to keep their families together, especially when they go as far as to sacrifice their own hopes and dreams. Zach (Trevor Wright) is that kind of character and I loved him the minute he appeared on screen. Written and directed by Jonah Markowitz, “Shelter” is one of the best gay-themed movies I’ve seen in a while because every element worked. If one was to watch this closely, I’d say take notice of the use of color and symbolism to reach a deeper understanding of Wright’s character. It’s so refreshing to see a lead gay character who is not into fashion or going clubbing or money/shopping at all (not to mention no one died of AIDS, no cross-dressing, no suicide attempts). I can relate to Zach because he really is a serious person; I wanted to scream for him because Zach is so trapped due to the expectations of his family and of himself. He endures each hardship with such composure, and when he finally breaks I seriously wanted to cry. If this becomes a cult film amongst the LGBT community, I wouldn’t be surprised.
38
Purple Violets (2007)
It’s funny because I’ve always seen Selma Blair as the naive girl who Sarah Michelle Gellar wanted to destroy in “Cruel Intentions” regardless of how many films I’ve seen her star in. This one is the first starring role that convinced me that Blair can be a great actress. Once this film, directed by the always engrossing Edward Burns, started I couldn’t stop watching it because all the actors have a certain energy that made me want to know more. This is undoubtedly a romantic comedy but as I was watching it, I felt like it was a tier higher than that. The film’s core is about deeply wounded thirtysomethings who want to achieve happiness but cannot quite get there because they are not happy with themselves. This movie reminded me of high school when I had all the time in the world to just… write. It made me wish that there were more hours in the day so I could just sit down even for just an hour or two to write about anything and everything. I thought this film was funny and sad with just the right pacing, but above all, it was honest.
37
Finding Nemo (2003)
I remember watching this animated film from Pixar in theaters and I seriously could not stop laughing. I felt like I was kid again and everything felt so fresh and all was right in the world. Written and directed by Andrew Stanton, “Finding Nemo” was about a father clownfish named Marlin (Albert Brooks), along with Dory (Ellen DeGeneres) who he met on his journey to Australian waters, in desperate search for his son (Alexander Gould) after he was taken by a scuba diver. The visuals are absolutely stunning but the story, bona fide sense of humor and touching moments were just impeccable. This is the kind of film that I would watch with my future kids on a weekend morning while we eat cereal in our pajamas. And maybe we’ll watch it again before we go to bed.
36
Death Proof (2007)
Originally part of the “Grindhouse” double feature film experience, Quentin Tarantino’s “Death Proof” was the better film by a mile. A lot of people mentioned that it was “boring” because the action scenes could only be found in the middle and in the end of the picture. I strongly disagree because if Tarantino just gave the violence without the snarky dialogue and characters you can root for, it would just be another Hollywood movie that glorified violence. Those people were obviously unfamiliar with Tarantino because his brilliance could often be found in the dialogue and the way the camera would move from one place (or person) to another. The action sequences were often secondary at best. I loved the fact that the film featured strong women who could fight with words as well as with fists. I’m so sick of watching films that showcase women as fragile creatures.
35
Dogville (2003)
Directed by the controversial Lars von Trier, “Dogville” was about the story of a woman (Nicole Kidman) on the run who ended up in a small town in Colorado. Initially, everyone felt warm and welcoming but the ugliness and the jealousy eventually moved to the forefront. I didn’t care whether it was anti-American or it focused on the negative side of humanity. For a movie consisting of skins and bones (literally, the houses and roads are made out of chalk lines, as if children had drawn them), it was engaging, scary, and mysterious from beginning to end. I absolutely loved Nicole Kidman’s acting because of her mastery in subtle body movements and vocal intonations. Paul Bettany was equally fascinating as a symbol for a wise but sometimes confused humanity. This picture may not have a lot to offer asthetically but it has such depth and interesting commentaries regarding the elements that make up our (sometimes cruel) society.
34
Kiss Kiss, Bang Bang (2005)
Robert Downey Jr. stars as Harry Lockhart, an aimless fast-talking man who gets caught up in a murder mystery along with Val Kilmer as Gay Perry. Everything about this film made me laugh because it was self-aware, not afraid to cite references from the most random sources (which somewhat reminded me of “Gilmore Girls”), and it was able to go in any direction without sacrificing the charm of the very damaged characters. Even though Downey and Kilmer argued a number of times, they had great chemistry and it was easy to tell that they cared for each other. Directed by Shane Black, “Kiss Kiss, Bang Bang” is a satirical hybrid of modern noir and dark comedy. As complicated as that sounds, the lead character assures us that this film would not be like “The Lord of the Rings” by having 17 endings.
33
Mean Creek (2003)
Jacob Aaron Estes directed this dark coming-of-age film about a group of kids and teenagers (Scott Mechlowicz, Rory Culkin, Ryan Kelley, Trevor Morgan, Carly Schroeder) who decided to take a mean, lonely, corpulent kid (Josh Peck) to the woods and take revenge for the things he’s done. “Mean Creek” was one of those movies that I saw and realized how powerful the cinematic medium could be. The picture gave us a situation and allowed us to make moral evaluations without the movie judging its characters before or after certain incidents. I was also very impressed with the level of performances that the actors had because they were able to put themselves in adult situations despite their age and pull it off well. This was a rich film, as most critics mentioned that it was comparable to “Stand by Me” (another one of my absolute favorites), wrapped in simplicity so it’s really worth looking beyond the surface.
32
Milk (2008)
This film made me so proud to be a part of the LGBT community. Sean Penn. Emile Hirsch. Josh Brolin. Diego Luna. James Franco. Alison Pill. Victor Garber. Joseph Cross. Lucas Grabeel. When I saw the aforementioned names on IMDB when they were still filming in San Francisco, I knew I had to watch “Milk” and that I would love it unconditionally. Thankfully, it managed to surpass even my highest expectations. Gus Van Sant have directed impressive films in the past (“Good Will Hunting,” “Elephant,” “Paranoid Park”) but I thought he would tell the story of Milk with a more commercial style. I was elated when I saw his signature awkward camera angles, forcing the audiences to watch crucial scenes via a reflection on a whistle or mirror and everything in between. Having seen the brilliant 1984 documentary “The Times of Harvey Milk,” I knew of the events that are about to transpire in Van Sant’s film, but that never stopped me from hoping that somehow reality and fantasy will trade places and make way for a happy ending. This should have won Best Picture for 2008 and I strongly believe that over the years, this will be regarded as a more important film than the undeserving winner.
31
There Will Be Blood (2007)
Daniel Day-Lewis definitely deserve the Best Actor Oscar for his portrayal of a man so consumed by competition and success. He was funny, scary, sad–but above all, twisted. Because of him, I couldn’t take my eyes off the screen. One minute he was someone one could relate to because he constantly wanted to prove himself, the next minute, he was a complete paranoid psychopath who seemed like he was possessed by the devil. What I loved about this film was its relentless soundtrack: it was always there even though nothing much was happening on screen. It was as if it became a character itself. Paul Thomas Anderson did a masterful job with his character study and making it universal by tackling religion, ambition, business and greed. This picture was 160 minutes long but it was 160 minutes great filmmaking.
Dead Man Walking
Dead Man Walking (1995)
★★★ / ★★★★
Written and directed by Tim Robbins, “Dead Man Walking” tells the story of a man on death row (Sean Penn) and a nun (Susan Sarandon) who takes his request to be his spiritual advisor despite people’s attempt to dissuade her from doing so. I thought this film was particularly effective because it was able to provide multiple insights regarding the issue of capital punishment, while at the same time I was curious whether or not Penn’s character really did pull the trigger that resulted the death of the two teenagers. Not only that, we really got to know the grief of the teenagers’ parents (Raymond J. Barry, R. Lee Ermey, Celia Weston); that their rage and hatred do not come out of nowhere and that some of them might even be willing to move on. I was really touched by this film in its entirety because I felt like I was watching real people instead of actors merely playing their parts. The interactions between Penn and Sarandon–especially the close-up scenes–got me so involved to the point where I found myself beginning to truly understand the convict’s fear of death even though he is a racist, disagreeable, unfriendly man. Whenever they argued, I felt genuine tension between the two but I still could feel that Penn needed her and Sarandon cared for him. The issue of redemption was also explored. I’m not a big fan of religion but even I have to admit that it was effectively used in this film. Robbins managed to avoid telling a story that was self-righteous and manipulative, which I think was a difficult task because the picture ultimately geared us to sympathize for the convict. As a person who do not support capital punishment, I thought “Dead Man Walking” was able to both entertain and educate (and even enlighten, which is on a different level altogether). This is a strong film with so many layers to it so, naturally, I’m recommending it to anyone–even to those who do not have an opinion about the death penalty.
And the Oscar Goes To… (If Franz Had Chosen the Winners)
I know there’s other categories, but these are the ones I really care about.
BEST PICTURE
[ ] The Curious Case of Benjamin Button
[ ] Frost/Nixon
[x] Milk
[ ] The Reader
[ ] Slumdog Millionaire
BEST ACTOR
[ ] Richard Jenkins – The Visitor
[ ] Frank Langella – Frost/Nixon
[X] Sean Penn – Milk
[ ] Brad Pitt – The Curious Case of Benjamin Button
[ ] Mickey Rourke – The Wrestler
BEST ACTRESS
[ ] Anne Hathaway – Rachel Getting Married
[ ] Angelina Jolie – Changeling
[ ] Melissa Leo – Frozen River
[ ] Meryl Streep – Doubt
[X] Kate Winslet – The Reader
BEST SUPPORTING ACTOR
[ ] Josh Brolin – Milk
[ ] Robert Downey Jr. – Tropic Thunder
[ ] Philip Seymour Hoffman – Doubt
[X] Heath Ledger – The Dark Knight
[ ] Michael Shannon – Revolutionary Road
BEST SUPPORTING ACTRESS
[ ] Amy Adams – Doubt
[ ] Penelope Cruz – Vicky Cristina Barcelona
[X] Viola Davis – Doubt
[ ] Taraji P. Henson – The Curious Case of Benjamin Button
[ ] Marisa Tomei – The Wrestler
BEST DIRECTOR
[ ] David Fincher
[ ] Ron Howard
[X] Gus Van Sant
[ ] Stephen Daldry
[ ] Danny Boyle
BEST ORIGINAL SCREENPLAY
[ ] Courtney Hunt – Frozen River
[ ] Mike Leigh – Happy-Go-Lucky
[X] Martin McDonagh – In Bruges
[ ] Dustin Lance Black – Milk
[ ] Andrew Stanton – WALL-E
BEST ADAPTED SCREENPLAY
[ ] Eric Roth and Robin Swicord – The Curious Case of Benjamin Button
[ ] John Patrick Shanley – Doubt
[ ] Peter Morgan – Frost/Nixon
[X] David Hare – The Reader
[ ] Simon Beaufoy – Slumdog Millionaire
BEST ANIMATED FEATURE FILM
[ ] Bolt
[ ] Kung Fu Panda
[X] WALL-E
BEST DOCUMENTARY
[ ] The Betrayal (Nerkhoon)
[X] Encounters at the End of the World
[ ] The Garden
[ ] Man on Wire
[ ] Trouble the Water
BEST CINEMATOGRAPHY
[ ] Changeling
[ ] The Curious Case of Benjamin Button
[X] The Dark Knight
[ ] The Reader
[ ] Slumdog Millionaire
BEST FILM EDITING
[ ] The Curious Case of Benjamin Button
[ ] The Dark Knight
[ ] Frost/Nixon
[X] Milk
[ ] Slumdog Millionaire
BEST MUSIC (ORIGINAL SCORE)
[ ] The Curious Case of Benjamin Button
[ ] Defiance
[ ] Milk
[X] Slumdog Millionaire
[ ] WALL-E
BEST VISUAL EFFECTS
[X] The Curious Case of Benjamin Button
[ ] The Dark Knight
[ ] Iron Man
Top 10 Films of 2008
10
Nick and Norah’s Infinite Playlist
★★★★ / ★★★★
Even though Michael Cera plays the same type of character (“Superbad,” “Juno”) in pretty much every movie, I love him for it because he’s the master of awkward teen comedy. He has great comedic timing and he always gets his audience to care for his character in under twenty minutes. This film is about the adventures of Cera and Kat Dennings in one night–from finding the drunken Ari Graynor, dealing with the ex-girlfriend Alexis Dziena, having good fun with the gays (Aaron Yoo, Rafi Gavron, Jonathan B. Wright), to attending a “Where’s Fluffy” concert. If one looks at the overall picture, it may not amount to much because it’s directed more toward high school and college students, but it’s undeniably cute and has its genuinely funny moments (that Ellen Degeneres bit was hilarious!). We also get cameos from John Cho, Eddie Kaye Thomas, and Kevin Corrigan. There’s also a plethora of music references that range from The Cure to Shout Out Louds. Overall, the picture is very hip and energetic but could have used a bit more meaning. Honestly, I was also glad to see Asians in this film because I think we are underrepresented. Also, the idea of Cera having band members (and best friends!) who are gay but not flaming was a fantastic idea. I enjoyed Yoo and Gavron because I saw a bit of myself in them. (I would’ve liked to see at least one kiss between Gavron and Wright because they look so cute together!) This picture gave me a feeling of “American Graffiti,” (a weaker) “Before Sunrise,” and “Before Sunset.” Other than the movie not adding up to much (Maybe that’s the point.), I have no problem with it at all. Not all movies have to be meaningful to be beautiful and appreciated.
9
Encounters at the End of the World
★★★★ / ★★★★
Prior to watching the documentary, I expected to see strange creatures and jaw-dropping landscapes of Antarctica. What I didn’t expect was fascinating human stories of those who live, work, and research that unknown continent. This film really opened my eyes; this may sound stupid but when I think of Antarctica, I think of penguins and endless desert of ice. I don’t think about people actually living there for years–not just living there for the sake of work but actually living there because they feel like they belong there. Werner Herzog (“Grizzly Man,” “Rescue Dawn”), the director, features different kinds of people who have some kind of amazing stories tell. Their stories are so out there, so unbelievable to the point where I thought, “Wow. I hope when I’m old and wrinkled I’ll have my own interesting a story to tell younger generations.” The researchers also reminded me why I chose to pursue a Biology degree. They are so passionate with what they do, I feel like they’re having fun instead of working. They treat their big accomplishments (such as discovering new species of organisms) like little victories and they’re off to do more research the next day. One day, I want to be like them–doing what I love so it doesn’t feel like work. I liked how Herzog would sound sarcastic when he would ask the researchers stupid-sounding questions, but in truth, he really wants to know the answer. Comedic moments like that made this documentary less somber, which I thought was a good decision. As for the images that the film had to offer, I’ve never seen ice look so magical and poetic. There was this one scene involving a penguin that chose to walk toward a mountain thousands of kilometers away. It would mean certain death to that penguin because it’s walking away from its flock and food source. Suddenly, the way Herzog asks why the penguin walked in that direction made me tear up. It made me think about life and how mysterious and beautiful it is. The underwater scenes blew me away. There are so many weird-looking creatures–I’m really creeped out by them but at the same time I wanted to touch them. I highly recommend this film because it’s kind of like a tour of Antarctica. Not only do the audiences get to hear seals communicate with each other, go through survival training during intense ice storms, and see hypnotic landscapes, they also get a chance to think philosophically: how it’s a priviledge for humans to live on this Earth and how one day we will become extinct and nature will regain its place.
8
Cloverfield
★★★★ / ★★★★
There was supposedly a lot of hype surrounding this film but I never felt any of it. Maybe it’s because I am not that involved with the mainsteam or maybe, unknowingly, I didn’t want to hype it within myself. Either way, I think it’s a great accomplishment for several reasons. I didn’t expect to be scared at all but once the first earthquake started, I was completely involved. I didn’t mind the chaotic dialogue, the shaky camera, and its lack of realism; since the whole film was seen through a video camera, I felt like I was there with them, running from death itself–everything else didn’t matter. People complain a lot about the lack of steadiness of the camera because it made them dizzy. In other films, it would’ve been a disaster but in this movie, it was flawless. I appreciated the fact that we were limited to that camera, the things we were supposed to see and not see. This is definitely the first solid film of 2008.
7
Revolutionary Road
★★★★ / ★★★★
Even though “Revolutionary Road” is set in the 1950′s, it’s still very relevant today. Directed with such skill by Sam Mendes (“American Beauty,” “Road to Perdition,” “Jarhead”), he tells the story in a non-linear fashion and it works because the audiences are asked to immediately contrast how the couple was like when they met and after they’ve been together for a couple of years. I will be surprised if Leonardo DiCaprio and/or Kate Winslet do not get nominated for an Oscar. Even though I don’t think this is DiCaprio’s best performance, I think this is one of his most mature and he deserves to be recognized. It’s about time he wins an Oscar for consistently giving us characters that are both memorable and worth caring for. Winslet is magnificient in every movie I see her in and this one is no exception. To be honest, the reason why I loved this film is that I got to watch these two extremely talented actors (with great chemistry) scream at each other for long periods of time; they gave me some sick satisfaction because they are so good at it. I keep reading complaints from reviewers about the selfishness of the characters and how that quality makes it hard to relate to them. I cannot disagree more–I think selfishness is what makes them relatable because that’s a quality that everyone has whether he or she realizes it or not. And it’s not like the characters are selfish for no apparent reason: DiCaprio thinks his job is pointless but won’t quit because he knows that he has to provide for his family, while Winslet is desperate to move out of suburbia because she’s dying on the inside and craving for some excitement. All that frustration is not expressed in a healthy way so they lie, play mind games with each other, and become selfish because they couldn’t get what they need from one another. I thought the film was raw and realistic; at some points during the film, it made me reflect on my childhood when my parents would fight in front of me. Mendes managed to catch the awkwardness, shame and crushed egos after a big argument. In fact, one of my favorite scenes in the film was the morning after a big fight and how Winslet and DiCaprio pretended like nothing happened. I thought that scene was haunting because that’s when I realized that they act more like strangers when they’re peaceful with each other. In some ways, even though the tone of the film is sad and depressing, there are pockets of darkly comedic moments. I don’t know what it is about me but I always find something amusing when it comes to depressed rich people living in suburbia. This is the kind of movie that I would recommend to couples everywhere who think that they’ve fallen in love after only going out for a short amount of time. In essence, this is a cautionary tale for people who believe in love at first sight.
6
Forgetting Sarah Marshall
★★★★ / ★★★★
Judd Apatow is building quite an empire. I think this is one of the best ensemble cast of the year because they made this film consistently funny from beginning to end. Although this film reminded me of the tragic “The Heartbreak Kid,” this is infinitely better because it is bona fide in its humour and it has a big heart. Jason Segel’s nudity is hilarious but despite that, it could serve as a metaphor because the audience really did see his character for who he is, his failures and successes. I’m glad Kristin Bell’s character is not made to be the “villain” of the story. It’s close to real life because the audience eventually discover why she broke up the relationship (and for good reasons). Jonah Hill and Russell Brand are nothing short of hilarious. Paul Rudd is great as always. Although he stole every scene he was in, I wish he had more screen time. Memorable scenes run abound such as the dracula song, the crime scenes, the puppet show, and little snippets here and there that are worth quoting. Even the credits has something special in it. This is one of my favourite films of the year so far. Watching it with friends makes it all the more rewarding so don’t watch it alone!
5
Flight of the Red Balloon, The
★★★★ / ★★★★
I’ll just come right out and say it: I think this film is a masterpiece. Hsiao-hsien Hou did an amazing job in directing and shaping this homage to “The Red Balloon.” I can’t really make comparisons with that classic children’s film because I haven’t yet seen it while writing this review. However, from what I read from people’s blogs who have seen both, they claim that it captured the original’s main themes. All of the actors were impressive in their own way. Juliette Binoche is still electric even though she’s a bit more broken down here than in her other movies. I liked the pluckiness of her character but didn’t like the fact that she pays more attention to her career than her son. Simon Iteanu, who plays Binoche’s son, is sublime as a lonely boy but doesn’t make us feel too sorry for him. He shows that he’s strong in some ways, whether it comes to distracting himself with pinball machines or playing a role in his nanny’s movies. Fang Song plays the nanny who I think made the movie that much more interesting. Her style of acting is so nonchalant but there’s something about her that’s caring and welcoming. I wanted to be her friend by the end of the movie. Several other plot elements include Binoche’s conflict with her tenant (Hippolyte Girardot) and, of course, the mesmerizing observation of the red balloon, which symbolizes youth, friendship, and loss. The classical piano music that accompanies some of the scenes and the use of bright colors made the picture that much more poetic. Most people will say that “nothing much happened” but that’s the point: to watch a slice of life. Watching this homage is like eating and savoring my favorite kind of cake–pretty much everything about it worked and I have nothing negative to say about it, which is very rare.
4
Dark Knight, The
★★★★ / ★★★★
Do I think this is the best superhero movie ever made and in comparison to what? Yes, I think it is the best superhero ever made (as of July 2008) and it’s about five times better than the great “Spider-man 2.” Do I think this is one of the best films of the 2000′s? Yes, I do because it not only works as a first-rate superhero film, it also works as a gritty suspense-crime thriller (some scenes are as heart-pounding as “The Departed”) influenced with noir films from the mid to late 1950′s (such as “The Killing”).
That said, I am both impressed and mildly disappointed with “The Dark Knight.” I have two reasons why I was disappointed: the film was not I expected it to be and the so-called twists in the story weren’t twists for me at all because I’m very familiar with the story of Batman along with the citizens and villains of Gotham City. I know the director, Christopher Nolan, means well when it comes to closely following the story of Batman; however, that comes with a price: the movie became almost too predictable. (Don’t get me wrong–I love the fact that Nolan is sticking close to the mythology and providing us great movies for my favorite superhero.) So, when certain events happen, I was sometimes apathetic to them because I knew whether a character will die or live to fight another day. But I emphasize this: some of the twists I did not see coming at all, so those few unpredictable twists almost make up for the shortcomings.
Jumping back to first reason why I was slightly disappointed, I expected the film to be more like the first movie. I wanted to know more about Bruce Wayne’s childhood and his relationship with his parents. I wanted a structure–a solid beginning, middle, and end. This film feels like one action scene after another–kind of like a long middle, if you will. On the other hand, that is not exactly a bad thing because a lack of structure and chaos is what this movie is aiming for, kind of like what the Joker is all about. And that’s why I think this film is so brilliant: the thing I don’t like about it is so fitting; it’s feels so wrong to me but it feels so right when it comes to the movie’s ongoing theme. Also, one could argue that this is a continuation of “Batman Begins” so a beginning is not necessary and neither is an ending because the next chapter is yet to come.
As for the actors, Christian Bale solidified himself as the best Batman because he was able to play his character with such complexity by having a gray moral compass. Although his intentions are good, the repercussions of his actions are sometimes negative. Maggie Gyllenhaal is a big improvement from Katie Holmes by playing Rachel Dawes, who is torn between two lovers. While Holmes comes off as whiny and irksome, Gyllenhaal is tough but vulnerable. Aaron Eckhart effectively showcases a character that supports the Joker’s hypothesis. Morgan Freeman, Gary Oldman, and Michael Caine were actually given more important roles this time around so their characters are able to grow and the audience can understand their motivations a bit better. I just have to mention Cillian Murphy’s return as the Scarecrow, despite his small screen time, because he was completely brilliant as a once major villain turned into an ordinary criminal. Not only does his return tie up some loose ends from “Batman Begins,” his return reminds us that Scarecrow is child’s play compared to what the Joker is about to bring to Gotham City. If one is familiar with the mythology, it could be a hint (or serve as a ripple effect–a statement regarding the circular nature of the Batman universe) on what could happen in the third movie. Last but not least, Heath Ledger did an excellent job as the Joker. Ever since I was younger, I’ve always thought of the Joker as menacing more than anything else; the laughs come in BECAUSE his actions are so cruel and sadistic to the point where it’s darkly comic, NOT the other way around.
Actors who’ve played Joker in the past often make that dire mistake of being funny more than half of the time. Ledger understood the Joker’s core: he introduces chaos to the world for no reason. As one character gravely stated, “Some men just want to watch the world burn.” Those characters often make the most terrifying and memorable villains. Since their motivations are unknown and they have nothing to lose, that evil can never be purged. Ledger’s performance definitely reminded me of the ultra-violent Alex in “A Clockwork Orange.” Do I think Ledger deserves at least an Oscar nomination for his role as the Joker? Most definitely. Does he deserve to win? Maybe. Only time will tell until or if someone else can do a better job playing a supporting actor role.
It was a great pleasure watching “The Dark Knight” despite its flaws because I knew that my favourite superhero’s story is finally told with such focus, complexity, and heart. I can only hope that the next film will be just as good as “Batman Begins” and “The Dark Knight.”
3
In Bruges
★★★★ / ★★★★
All I could say as the credits started rolling was, “Wow.” I relished every minute of this film because it managed to successfully fuse two of my favourite genres–dark comedy and suspense thriller–in an elegant and astute manner. Granted, three-fourths of the movie leaned toward the former and the rest leaned toward the latter but it does not mean it’s less rewarding. Colin Farrell and Brendan Gleeson have such great chemistry. As the picture progressed, we get to realize that their characters weren’t just fellow hitmen–they were more like father and son. I was surprised by how much emotionally invested I was with the characters regardless of their occupation. The filmmakers were able to show that they, too, are people and are capable of feeling remorse and giving someone another chance for redemption. Never have I seen Farrell deliver as great (and as complete) a performance as in this movie. Farrell and Gleeson are pitch-perfect here. I must also commend Ralph Fiennes for giving a menacing (and funny) performance as the boss of Farrell and Gleeson. Even though he’s a killer like the other two, he has his own principles as well. He didn’t give as much screen time but we get to understand his motivations just as well. Lastly, I must give kudos to Martin McDonagh for writing and directing such a great first feature film. I was a big fan of his short film “Six Shooter” and I hope he releases more witty films like this one. All of that said, let me finish this review by stating that “In Bruges” is one of the best movies of 2008 so far.
2
WALL-E
★★★★ / ★★★★
Unsurprisingly, I’m impressed with WALL-E in so many levels. I think out of all the Pixar films released to date, this is the most atmospheric: from the post-apocalyptic Earth where WALL-E is sent to deal with waste to outer space where WALL-E discovers what he was meant for. The environs reminded me of the ravaged London from “28 Days Later” to the deserted New York City in “I Am Legend.” Despite the eye-candy visuals for children, there were many layers to this film for adults. For instance, there were comments about the way we push our environment to its limits, our neglect for our physical bodies due to recent developments in technology, our eating habits, and our proclivity (whether we are aware or not) toward hiding behind anything that’s available so we wouldn’t have to deal with reality. All of those were dealt with humor… but if one really looks closely, “WALL-E” really does have important messages that we shouldn’t ever forget. Loneliness and finding love are other themes that are tackled masterfully between WALL-E and EVE. Those themes culminated during the last few scenes of the movie which, I must admit, had major tearjerker moments. Even though WALL-E and EVE were robots, it’s hard not to feel for their struggle because love is universal. Although this works as a modern silent film, this also works as a fusion between animation and live-action. Those techniques are uncommon in modern cinema but they are so masterfully sewn into the story to the point where it is genius. Lastly, references like tape recorders, sporks, iPods, and Windows can be found throughout and they are hilarious. This film is definitely worth seeing in theaters and buying on DVD because it deserves multiple viewings for offering a simple but timeless story.
1
Milk
★★★★ / ★★★★
This film made me so proud to be a part of the LGBT community. Sean Penn. Emile Hirsch. Josh Brolin. Diego Luna. James Franco. Alison Pill. Victor Garber. Joseph Cross. Lucas Grabeel. When I saw the aforementioned names a few months ago on IMDB when they were still filming in San Francisco, I knew I had to watch “Milk” and that I would love it unconditionally. Thankfully, it managed to surpass even my highest expectations. Gus Van Sant have directed impressive films in the past (“My Own Private Idaho,” “Good Will Hunting,” “Elephant,” “Paranoid Park”) but I thought he would tell the story of Milk with a more commercial style. I was elated when I saw his signature awkward camera angles, forcing the audiences to watch crucial scenes via a reflection on a whistle or mirror and everything inbetween. Having seen the brilliant 1984 documentary “The Times of Harvey Milk,” I knew of the events that are about to transpire in Van Sant’s film, but that never stopped me from hoping that somehow reality and fantasy will trade places and give me a happy, satisfying ending.
The performances are nothing short of electric. Sean Penn deserves an Oscar nomination because he fully embodied Harvey Milk. From the clips the documentary showed, Penn had the mannerisms of Milk to a tee to the point of disbelief. From the majestic speeches he delivered to the more intimate moments with his lovers, I found myself thinking that I’m not watching Penn act like Milk, he IS Milk. He delivered his lines with such quiet power and wit, sometimes it’s difficult to tell if he’s simply joking or poking fun of someone (or both). It was also refreshing to see him smile so much because I’m used to seeing his more serious side (“21 Grams,” “The Interpreter,” and particularly in “Mystic River”). As for Emile Hirsch, who plays Cleve Jones, I’ve seen every movie he’s in and loved all of them (“Imaginary Heroes,” “The Emperor’s Club,” and “Into the Wild” stood out to me), but this is the film that he shines in every single frame when he’s not the main actor. He has this rare talent of mixing energy with quirkiness to make an extremely charismatic character, despite his (sometimes horrendous) hairdos. Last but certainly not least, James Franco, who plays Scott Smith, made me feel safe every time he speaks. He understands his character’s complexity so whenever he and Penn would kiss or hug or converse at the dinner table or the bedroom, you get this feeling that they’re made for each other.
Despite all of the actors’ positive qualities, their characters are far from perfect. Milk is especially flawed because he has the tendency to put his goals in front of his friends and even his own well-being. He cares so much for the advacement of everyone else’s rights that he forgets that he’s not invincible, that it’s alright to take a break once in a while and get away from all the political madness. As for Brolin’s Dan White, he’s not portrayed as a complete monster. He is portrayed as a man who cares and desperately wants to provide for his family; a man who stands up for his beliefs but at the same time suffocated by such beliefs; a man who sees so much changes before his eyes, that he’ll do anything in his power to stop such a powerful force. If we can learn anything from both Harvey Milk and Dan White, it’s the fact that one person can make all the difference.
My friend who I went to see “Milk” with said that he wishes that this film came out before people got to vote on Proposition 8 in California, which aims to “restrict the definition of marriage to a union between a man and a woman and eliminated the right of same-sex couples to marry” (Wikipedia). I was amazed with the many parallels that this film had with today’s issues (Milk and his army battles Proposition 6–which would have called for the state to bar gays and lesbians from being teachers). On one hand, it makes me feel like we’ve come so far from the 70′s when it comes to accepting, not just gays, lesbians, bisexuals, and transgenders, but all types of minorities. On the other hand, it makes me feel like we haven’t progressed much at all because society is still stuck in this false idea of heteronormativity.
Putting my political views aside, “Milk” is definitely one of the most important films of 2008 because discrimination is still a monster we have not defeated. We might have scratched it a bit or even cut off its arm, but it recovers every time the envelope is not pushed. People have the tendency to forget something when that something is not in front of them. Even if one does not approve of homosexuality, the film’s craft should be appreciated; Van Sant’s decision to sew in actual footages from the ’70s worked wonders because I felt like I was living in that time period. Astute implications regarding politics and the fusion of public and private spheres are enough to qualify this for a Best Picture nomination. Not to mention Danny Elfman’s majestic score really makes the audiences feel how much is at stake. At some points during the film, I literally wanted to get up from my seat and rally on the streets of San Francisco with them. Definitely see this one with friends or just random people in the cinema (just make sure you’re not alone) because there are a lot of jokes and laughter that are worth sharing. By the end, of course it’s a tearjerker because we get to witness losing the Martin Luther King, Jr. of the gay rights movement. The ending of the picture really put tears in my eyes because the story of the great Harvey Milk is finally put on the spotlight (there were a plethora of behind-the-scenes drama since the 1980′s on how the story should be told, who will direct, et cetera). Maybe this film will even inspire those who are sick of hiding from true selves to come out. I cannot help but smile a little more, stand up a little straighter, put my head a little higher, every time I imagine Harvey Milk declaring, “I am Harvey Milk and I am here to recruit you!”
HONORABLE MENTIONS OF 2008
American Teen
Baby Mama
Bank Job, The
Bigger, Stronger, Faster
Bolt
Boy A
Changeling
Charlie Bartlett
Chronicles of Narnia: Prince Caspian, The
Curious Case of Benjamin Button, The
Doubt
Flow: For Love of Water
Incredible Hulk, The
Indiana Jones and the Kingdom of the Crystal Skull
Iron Man
Kung Fu Panda
Love Songs
Mirrors
Paranoid Park
Quarantine
Reader, The
Reprise
Sex and the City
Snow Angels
Son of Rambow
Transsiberian
Vicky Cristina Barcelona
XXY
Tropic Thunder
Tropic Thunder (2008)
★★ / ★★★★
This is not as funny as everyone made it to be. I thought it spent too much of its time showing people shooting guns and not enough time telling Hollywood jokes. For a two-hour film, I thought it would reach some sort of balance. Written and directed by Ben Stiller, he has some really funny sketches such as the fake trailers prior to the main feature, Robert Downey Jr. as a method actor, Tom Cruise as the over-the-top movie mogul, and not to mention the Oscar scene. Other than those few elements, I simply chuckled through the rest (if they were at least somewhat funny). Jack Black and Ben Stiller weren’t as funny as they could have been. Compared to Downey Jr. and Cruise, Black and Stiller were trying too hard to get noticed; instead of enhancing the experience, it became distracting. But I appreciated the cameos from Tyra Banks, Jennifer Love-Hewitt, Lance Bass, and Alicia Silverstone. They made me pay attention when nothing was going on on screen. What made this movie slightly above average at times was its self-awareness. It’s unabashed when it comes to making references to war pictures like “Platoon” and “Full Metal Jacket.” I love the scene where Downey Jr. recalled the films and actors that focus on mental retardation: Dustin Hoffman in “Rain Man,” Tom Hanks in “Forrest Gump,” and Sean Penn in “I Am Sam.” If they would have appeared, it would have been that much better. But what really did not work for me was the jungle scenes. When people are shooting guns and running away from the artillery, it becomes chaotic. Those “action” scenes feel like fillers when the jokes are not in the foreground. This is supposed to be a comedy but I didn’t see the comedy behind the violence. Perhaps if this had been a dark comedy film, it would’ve worked… but it wasn’t so it didn’t. The story becomes slow and it feels like the actors are not reaching their full potential because they are left to just run around screaming. If this movie would have been tilted toward the show business instead of the actual war scenes, I think I would’ve enjoyed it that much more.
Milk
Milk (2008)
★★★★ / ★★★★
This film made me so proud to be a part of the LGBT community. Sean Penn. Emile Hirsch. Josh Brolin. Diego Luna. James Franco. Alison Pill. Victor Garber. Joseph Cross. Lucas Grabeel. When I saw the aforementioned names a few months ago on IMDB when they were still filming in San Francisco, I knew I had to watch “Milk” and that I would love it unconditionally. Thankfully, it managed to surpass even my highest expectations. Gus Van Sant have directed impressive films in the past (“My Own Private Idaho,” “Good Will Hunting,” “Elephant,” “Paranoid Park”) but I thought he would tell the story of Milk with a more commercial style. I was elated when I saw his signature awkward camera angles, forcing the audiences to watch crucial scenes via a reflection on a whistle or mirror and everything inbetween. Having seen the brilliant 1984 documentary “The Times of Harvey Milk,” I knew of the events that are about to transpire in Van Sant’s film, but that never stopped me from hoping that somehow reality and fantasy will trade places and give me a happy, satisfying ending.
The performances are nothing short of electric. Sean Penn deserves an Oscar nomination because he fully embodied Harvey Milk. From the clips the documentary showed, Penn had the mannerisms of Milk to a tee to the point of disbelief. From the majestic speeches he delivered to the more intimate moments with his lovers, I found myself thinking that I’m not watching Penn act like Milk, he IS Milk. He delivered his lines with such quiet power and wit, sometimes it’s difficult to tell if he’s simply joking or poking fun of someone (or both). It was also refreshing to see him smile so much because I’m used to seeing his more serious side (“21 Grams,” “The Interpreter,” and particularly in “Mystic River”). As for Emile Hirsch, who plays Cleve Jones, I’ve seen every movie he’s in and loved all of them (“Imaginary Heroes,” “The Emperor’s Club,” and “Into the Wild” stood out to me), but this is the film that he shines in every single frame when he’s not the main actor. He has this rare talent of mixing energy with quirkiness to make an extremely charismatic character, despite his (sometimes horrendous) hairdos. Last but certainly not least, James Franco, who plays Scott Smith, made me feel safe every time he speaks. He understands his character’s complexity so whenever he and Penn would kiss or hug or converse at the dinner table or the bedroom, you get this feeling that they’re made for each other.
Despite all of the actors’ positive qualities, their characters are far from perfect. Milk is especially flawed because he has the tendency to put his goals in front of his friends and even his own well-being. He cares so much for the advacement of everyone else’s rights that he forgets that he’s not invincible, that it’s alright to take a break once in a while and get away from all the political madness. As for Brolin’s Dan White, he’s not portrayed as a complete monster. He is portrayed as a man who cares and desperately wants to provide for his family; a man who stands up for his beliefs but at the same time suffocated by such beliefs; a man who sees so much changes before his eyes, that he’ll do anything in his power to stop such a powerful force. If we can learn anything from both Harvey Milk and Dan White, it’s the fact that one person can make all the difference.
My friend who I went to see “Milk” with said that he wishes that this film came out before people got to vote on Proposition 8 in California, which aims to “restrict the definition of marriage to a union between a man and a woman and eliminated the right of same-sex couples to marry” (Wikipedia). I was amazed with the many parallels that this film had with today’s issues (Milk and his army battles Proposition 6–which would have called for the state to bar gays and lesbians from being teachers). On one hand, it makes me feel like we’ve come so far from the 70′s when it comes to accepting, not just gays, lesbians, bisexuals, and transgenders, but all types of minorities. On the other hand, it makes me feel like we haven’t progressed much at all because society is still stuck in this false idea of heteronormativity.
Putting my political views aside, “Milk” is definitely one of the most important films of 2008 because discrimination is still a monster we have not defeated. We might have scratched it a bit or even cut off its arm, but it recovers every time the envelope is not pushed. People have the tendency to forget something when that something is not in front of them. Even if one does not approve of homosexuality, the film’s craft should be appreciated; Van Sant’s decision to sew in actual footages from the ’70s worked wonders because I felt like I was living in that time period. Astute implications regarding politics and the fusion of public and private spheres are enough to qualify this for a Best Picture nomination. Not to mention Danny Elfman’s majestic score really makes the audiences feel how much is at stake. At some points during the film, I literally wanted to get up from my seat and rally on the streets of San Francisco with them. Definitely see this one with friends or just random people in the cinema (just make sure you’re not alone) because there are a lot of jokes and laughter that are worth sharing. By the end, of course it’s a tearjerker because we get to witness losing the Martin Luther King, Jr. of the gay rights movement. The ending of the picture really put tears in my eyes because the story of the great Harvey Milk is finally put on the spotlight (there were a plethora of behind-the-scenes drama since the 1980′s on how the story should be told, who will direct, et cetera). Maybe this film will even inspire those who are sick of hiding from true selves to come out. I cannot help but smile a little more, stand up a little straighter, put my head a little higher, every time I imagine Harvey Milk declaring, “I am Harvey Milk and I am here to recruit you!”
“You’re going to meet the most extraordinary men, the sexiest, brightest, funniest men, and you’re going to fall in love with so many of them, and you won’t know until the end of your life who your greatest friends were or your greatest love was.” — Harvey Milk to Cleve Jones
