Set Me Free (Emporte-Moi) (1999)

   I'll go ahead and admit as a bad filmgoer and reviewer that I have never seen "Vivre Sa Vie" ("My Life to Live") by Jean-Luc Godard, and I considered watching it to get some perspective before reviewing "Set Me Free." "Set Me Free," though not directly related to "Vivre Sa Vie" thematically, is the story of a frustrated young girl who becomes fascinated with the prostitute character, Nana, is Godard's classic.

   It's also about growing up. And sexual awakening. And youthful confusion. And the moment as a child when you realize that you can't save the grown-ups in your life; sometimes, you can only help them along while they choose to sink or swim, to fight against the current, or drown. It's about the way movies influence young people, and how it's often the one's you wouldn't expect that change their ideology, for better or worse.

   Hanna (Katrine Vanasse) is a knowing yet naive 13-year-old who lives with her thief brother, Holocaust survivor father, and suicidally depressed mother in France. The year is 1963. Her father (Predrag Manjlovic) has a iron grip on the household. On the other hand her mother (Pascale Bussières) is as submissive and weak as her father is dominating. In an opening scene, Hanna gets her first period near her grandparent's house, and shortly after goes back home to her parent's.

   While she was hardly happy at her grandma and grandad's, things go from bad to worse at home. Her dad is a pretentious, lofty, and generally bad writer who fancies himself a great artist, and her mom is one twitch away from a complete nervous breakdown. Her brother Paul is a petty thief. In an opening act of general assholery, Hanna's father spits at her mother that her's is 'mongoloid family' because her brother (Hanna's Uncle Martin) has Down Syndrome (I told myself that 'Mongoloid' was not such an offensive term back in the 60's, but nah, it's still not excusable.)

   When Hanna goes to the theater and sees "Vivre Sa Vie" for the first time, she falls in love- with the movies, Anna Karina, and with Karina's 'glamorous' character. From what I saw of the film within this film she is totally misreading the message of the movie, as her teacher tries to point out. But as a confused kid (sexually and in life) looking for a role model, it makes sense.

   Boy, did the child actor knock it out of the park here! Hanna was a sweetheart. From what I understand, the child actress was sixteen when she did this movie, and in fact, she looks childlike in some shots and more womanly in others, probably a intentional decision on the part of the director. Hanna's father insists on masculinizing his daughter, cropping her hair down to boy length (the hair-cutting scene reminds me of the one in "Ma Vie En Rose.") As Dad cuts, a silent tear runs down Hanna's cheek, and she gradually is made to feel a little more helpless.

   Hanna propositions a man, maybe in hopes for a normal life or because it is the 'thing to do' as a girl, but exchanges intimate kisses with a female friend (Charlotte Christeler.) Does that mean she is bi, simply confused, or something else. Fed up with her family, Hanna runs away, but will a life on the streets be easier or harder than she was looking for?

    The acting was fabulous, but I wished the ending had offered a little more. There seemed to be a real lack of realization, and everything get's better quite abruptly. What was learned, except that being a ho' isn't all it's cut out to be? It's nice to have a happy ending for such a lovely character, but the story doesn't seem to have the most logical conclusion.

   "Set Me Free" is well made and most of all bittersweet and sad. It's is based on the director Lea Pool's life, so that makes it this much more authentic. I would love to know if filmmaker Lea Pool is gay, because that would shine a light to better understand the sexual elements of this movie. Note- You can watch this on Huluplus. Otherwise it is not available on DVD as far as I know. I hope you get the chance to watch this powerful film. Thank you.
                                                                             Rating-
                                                                                   8.5/10

Akeelah and the Bee (2006)

   Cynics have called this film 'predictable,' but I loved it. Touching, character-driven, and inspirational, "Akeelah and the Bee" wins A's from me. It reminds me of when I participated in spelling bees as a child. I was pretty good, but I never made it to the Nationals. To see young Akeelah do so, despite her impoverished background, is very moving.

   Akeelah Anderson (Keke Palmer) is an 11-year-old, highly intelligent black girl who lives in an Los Angeles urban community with few options. She shows an aptitude for spelling, but is not confident in her abilities. When her teacher notes that Akeelah is the smartest student in the class but seriously lacks motivation, she gives her a flyer for the school spelling bee.

   Well, Akeelah breezes through that, and she is placed under the stern watch of Joshua Larabee (Laurence Fishburne,) a former Harvard scholar haunted by tragic events in his past. Larabee is one those blokes who makes it almost impossible to please him, and Akeelah and he are initially at odds.

 Akeelah finds a true friend and prepubescent love interest in fellow speller Javier (J.R. Villarreal)
and butts heads with her beautiful but stubborn mother, Tanya (Angela Bassett.) Meanwhile, she grieves for her dead father (played in flashbacks by Wolfgang Bodison) and worries for her brother Derrick-T (Eddie Steeples,)  who has taken up with Gangsta wannabees.

   Her military brother Devon (Lee Thompson Young) loves her and supports her, encouraging her fledgling dreams to take flight. Gradually, however, she captures the interest of an entire community. The first thing you might notice about "Akeelah and the Bee" is the undeniable stage presence of Keke Palmer, who plays Akeelah.

   This young girl has warmth and talent to spare. Laurence Fishbourne lends a lot of credibility to his character as Dr. Larabee who starts out not liking Akeelah much at all and gradually warms up to the girl's charms. Angela Basset is also very believable as Akeelah's deeply tired mother, who is frankly expecting to see her daughter flunk the spelling bee.

   The characters are really well-written; it's not really movie with villains, per se, but with different character
components who act and react with each other. The movie does not ignore the disturbing or sad elements (Akeelah's dad is killed before the movie begins in a gangland shooting) but it makes them more manageable
somehow.

   I first saw this movie when I was a kid and was happy to see it again. My opinion had not changed- it is still a very good movie. "Akeelah and the Bee" has a certain innocence without being naive and handles some troubling themes without forgetting to let the sunlight in.

 It is a very special movie that should be appreciated by kids eight and up (those who are above the "Air Buddies" developmental stage, that is) and it will make kids and adults alike root for Akeelah, with all her grit and her might, against staggering adversity.
                                                      Rating-
                                                           8.0/10

 

Hick (2011)

 
Contrary to the brutally negative reception for this film, I found "Hick" to be a solid film with a powerful theme and an engrossing main character. I actually thought it was better than the director's earlier effort, "Lymelife" (2008.) Rory Culkin gave it his best shot, but the Suburban family dysfunction motif is so 'done,' and y'know, Emma Roberts plays the same damned character in every freaking movie she's in.

   The often-overlooked Culkin brother is in this too in a small part, but Chloe Grace Moretz runs the show as Luli, a sexually provocative yet heartbreakingly vulnerable 13-year-old and the product of drunk loser parents (Anson Mount and Juliette Lewis) living in small town, Nebraska. Disenchanted with her going-nowhere life, Luli hitches a ride from a limping young man (Eddie Redmayne,) a decision which turns out to be the most dire of her life.

   Chloe Grace Moretz is a good little actress, although she still has a lot of room to improve, and seeing her flounce around in her underwear and act sexually precocious might bother a lot of people. But it's important to remember that Moretz is not a little girl anymore, and is gradually working her way into more mature roles (maybe a little faster than we would like.)

   Luli is a dynamic character. Early on, as she points her revolver in the mirror and quotes lines from famous

Pubescent Moretz provokes controversy.

films, we see a girl who has been hurt to many times, and needs a lifeline of any kind to stay afloat. Later, when she asks her mother's boyfriend if she's pretty, our heart aches for her- we want to be there for this lonely, desperate girl, yet can only watch her fumble and fight with the challenges of an unusual adolescence through the screen.

   Unfortunately, the other characters are singularly nasty and unlikable, almost unbearably at times. Most of them seem to exist primarily to abuse, let down, and exploit Luli, to the exclusion of anything else. Redmayne gives a good performance as Eddie, the boy who picks Luli up, but by the end it is impossible to feel any sympathy for him.

   Just because we are traveling from one little hick town to another, does that mean the men can't show a little chivalry towards a struggling teenage girl? It is disturbing, but also ludicrous, how each odd character Luli meets seems to be indescribably broken and mean spirited. That said, I never got bored during this movie, and was fascinated by Moretz's little traveler.

   I've liked Moretz since "Kick-Ass," and she shows maturity and screen presence as the lead character. Watch this for her and Redmayne, if for no one else. While Redmayne is appropriately vile, the film finds an unlikely heroine in Luli, sometimes sour, sometimes sweet, but always compelling.
                                            Rating- 
                                                   6.5/10

When lines are crossed.

Wake in Fright (1971)

To be perfectly honest, I found "Wake in Fright," the chronicle of a man's financial and spiritual ruin in the outback of Australia, to be dull, uninvolving, and rather obvious. Maybe the reason it didn't engross me as much as I expected it to was that I expected an entirely different movie. Looking forward to an exciting, entertaining, and well-made rural thriller, I was instead subjected to a VERY slow-paced and uneventful movie with lots of animal killings that shocked and sickened me.

There's no one saner than me, Mate! Right!?

   Now, I often love slow-paced movies, so I wonder if I simply watched it at the wrong time. But to enjoy a slow movie I have to have have characters that hold my interest, that I like and relate to in some way. The characters in "Wake in Fright" were fairly well-defined, but not likable nor particularly involving. While many of the Australians are loutish thugs, the rather conceited English schoolteacher is an uppity snob who personifies the kind of person I hate.

   John Grant (Gary Bond) is the stereotypical proper Englishman who reeks of pretension and who you
would want to show your light reading picks to (his choice of light reading would probably be 'Ulysses' followed by a few chapters of "Anna Karenina.") He is stuck on the Australian Outback teaching a small school of students varying greatly in age, and arrives in Bundanyabba, a remote mining town, on his way to meet his girlfriend over in London, England.

   The rough-hewn men of the town want his to drink, brawl, and be merry, and John looks down on the men and their customs. But when he gambles away all his money on a coin game, he is forced to live with Doc (Donald Pleasence,) an alcoholic is both rough and highly educated. Thus begins his emotional and mental disintegration, as he lured into the world of boozing, fighting, kangaroo killing, and homosexual sex (ya better look out for those hom'sexuals, ya hear?)

Den of Sin

 I think reading 'Lord of the Flies' again would be preferable to watching this dreary descent into depravity. Peter Brooks' film adaptation is no good, but William Golding's book remains a masterpiece. I simply didn't get into the characters or events portrayed in this film. Donald Pleasence is a gifted actor and I find him strangely attractive, even as an old man in "Halloween," but his character's motivations are inexplicable.

   Furthermore, I found the killing of the little fox and the kangaroo hunt spiritually sickening on several levels. The disclaimer at the end states that the kangaroos were took down by actual hunters and would have been killed anyway, but that doesn't account for the fox, and I was horrified by the maimed kangaroos staring at the camera with a mixture of sadness and terror. Maybe I'm personifying them too much, but that's not something I'm ashamed of. I know the scenes were meant to show the men's disconnect from the natural world, but it still made me sick.

   I feel a little guilty for not liking "Wake in Fright", which got %100 'fresh' on Rotten Tomatoes.com, but there you are. Truthfully, I kept checking the time left on this film and getting distracted, not the mark of a masterpiece. The actors perform commendably, and the movie is fairly well shot, but basically it was just not for me.
                                                                         Rating-
                                                          5.5/10

Crazy Eyes!

   

The Hunt (2012)

Just as man has succumbed to the urge to kill, fight, and procreate since the beginning of time, also has man had the tendency to persecute others without clear or rational explanation. These attacks, popularly called ‘witch hunts,’ come under fire in the Academy-Award nominated Danish film “The Hunt,” which tells the story of how one little girl’s lie has devastating consequences. These consequences affect not only one man, but a whole community.

   Lucas (Mads Mikkelsen) a mild-mannered, reserved divorcee and father of a teenaged son (Lasse Fogelstrøm) works at the local Kindergarten. He is fighting to gain more time with his son, and enjoys the company of the kindergarten kids as well as his  Swedish girlfriend, Nadja (Alexandra Rapaport.) Lucas is well-liked by the community, but is best friend is Theo (Thomas Bo Larsen,) the often-drunk father of Klara (Annika Wedderkopp,) a troubled young girl who is beginning to show symptoms of Obsessive-Compulsive Disorder.

   When Lucas rejects Klara’s innocent-yet-inappropriate advances in forms of a gift and a kiss, Klara makes up a lie that has far-reaching consequences. Accused of indecent behavior towards the children of the Kindergarten, Lucas must deal with the loss of his career, his friends, and his safe niche in the community. Suddenly, he is distrusted by everyone, and people shun him and outwardly lash out at him. By the time Klara tries to take it back, it’s too late. Everything has changed.

Is this the face of evil?

 
 I don’t really blame Klara for the way things turns out- I’m angry, yes, but I cannot hate or dismiss her. By the time the chips have fallen into place, she barely remembers what did or didn’t happen. Unlike the events in Craig Zobel’s “Compliance,” which were set off and carried past a certain point by pure idiocy (although "Compliance" is supposedly based on a real-life case,) the events in "The Hunt" are frighteningly plausible and even, for a while, understandable.

   I loved the first scene. In a seemingly jolly outburst of mirth and indiscretion, a group of male friends go skinny-dipping in a cold lake. For a moment, all is well. Then a chill falls over the film as we are shown a shot of a chilly landscape. The amiable notes of "Moondance" by Van Morrison fade into pure silence. All is not well. Disaster is hovering over the hero's head, and he will find himself doing and saying some things he never expected too.

Save the children!

   Mads Mikkelsen is just terrific in the lead role. His portrayal of a desperate man going to desperate lengths to be heard is so dark and deep, you never doubt it for a second. All the actors are actually very good. Annika Wedderkopp, as five-year-old navigating conflicts way above her maturity level, is a young talent to
watch.

   "The Hunt" is just electrifying to watch because of the daunting relevance of the situation. Akin to the Salem Witch Trials, after Klara has told her lie, many of the schoolchildren start reporting abuse. You can imagine yourself in a situation like that, because if a little girl came to you revealing things she shouldn't know, who would you believe? The adult, despite your nagging suspicions? Or the child, despite your friendship with the man in question. We all hate pedophiles. But what happens when that hatred becomes irrational and turns us into something monstrous? Very interesting food for thought.
                                              Rating-
                                                      8.0/10

The Last Summer of La Boyita (2009)

 "The Last Summer of La Boyita" is a sweet and humane film about a willful young girl struggling to understand the complexities of sex and gender. Despite content involving burgeoning sexuality and youthful curiosity, "La Boyita" never seems exploitative or tawdry. On the contrary, it is a wonderful film about the friendship between the girl, Jorgelina (Guadalupe Alonso) and an intersexed farmer's son, Mario (Nicolás Treise.)

   Jorgelina is a somewhat entitled little girl living in Argentina who spends the summer with her doctor father (Gabo Correa) in a rural area. While vacationing there, she immediately takes an active interest in Mario, the low-key son of a farmer who has been pulled out of school to work full-time on the farm. Living with few joys or options, Mario is further burdened with a destructive secret- he is intersexed (popularly coined a hermaphrodite.)

   Cursed with both male and female reproductive organs, he must live in fear that someone will discover his secret. Jorgelina takes a prepubescent fancying to Mario, and becomes curious when his strange sexual status is almost accidentally revealed. Meanwhile, Mario prepares for a horse race that will prove his manhood to the other young lads.

   The child actors are wonderful, but the stand-out performance is Mirella Pascual as Elba, Mario's mother. She effortlessly plays a woman to whom life has dealt a shit-ton of pain and sadness. Mario's father, a rather brutish man (Guillermo Pfening) seemingly humiliated by his son's gender abnormality, refuses to take Mario to a professional for fear of embarrassment. He's good too. Actually, the whole cast is quite fabulous.

   I honestly don't have anything bad to say about this movie. Beautiful cinematography, natural acting, delightful leads... It's sad and sweet and wistful all at the same time. The plot can be a little slow, but if you like nuanced, slow-paced movies like I do you will forgive the film it's occasional sluggishness.

   What impressed me most about "The Last Summer of La Boyita" was the natural way the dealt with the boy's affliction. It's easy to take a schoolboy's stance on a subject like intersexuality, snickering and clowning around a serious topic. It is also easy to turn the whole thing into a lurid melodrama. It is harder to show restraint and sensitivity to a rare but still prevalent issue. I highly recommend this movie to anyone.
                                                                            Rating-
                                                        9.0/10

                                                       

The Piano Teacher (2001)

 Unsettling and provocative, "The Piano Teacher" is at once a study of the lives of deeply unhappy people and a commentary on the dangers of repression. It's not pretty or pleasant, but one can expect nothing less from controversial Austrian filmmaker Michael Haneke. He shines an unyielding light on his character's perversions, prejudices, and desires.

   The piano teacher of the title, Erika (impressively portrayed by Isabelle Huppert) is an aging spinster living with her crazy-domineering mother (Annie Girardot,) who still treats her like she is a girl on the cusp of puberty, who needs to be nettled and looked after constantly. They fight viciously, share the same bed, and there's an incestuous subtext going on. Even when that subtext is confirmed, we still can scarcely believe it.

   Erika is a very lonely and repressed soul, but she's not a particularly sympathetic character. She is cruel, petty, sexually aggressive, and at one point inexplicably maims a promising student's hand with shards of glass. However, it is impossible not to feel sorry for her at some point. She is an extremely hard character to read, and her seeming lack of emotion puzzles us deeply.

 We are given virtually no backstory on Erika at all- her father is locked up in an asylum somewhere, and she and her mother have long be entangled in a sick, co-dependent relationship. That is all. When Erika meets Walter Klemmer (Benoît Magimel,) he pursues her, but neither of them know what they're in for. They promptly head down the path of Sadomasochism and mind games.

   I was surprised that this was categorized on my favorite site as 'erotica.' Frankly put, this is not in the least bit erotic and has some of the most unsexy sex scenes for a film containing so many. "The Piano Teacher" is not unlike "Shame" by Steve McQueen in that respect. There is no joy or virility in the 'love' scenes, even the consensual sex has a not only clinical but aggressive feel to it as well.

   Isabelle Huppert is fabulous here, and Susanne Lothar (late, great actress and one of the only good things about Haneke's pretentious bore-fest "Funny Games") has a small part as the mother of one of Erika's students whose distinct lack of warmth mirrors Erika's mother's own.

   I wish Walter's character had been developed a little more. He exists simply to pursue Erika's character for one half of the movie and brutalize her emotionally and physically for the other. If his motivations had been considered more thoroughly, and his attraction to Erika better explained, the movie would have been better.

   There's a lot of ambiguity and subtext in Haneke's films, and "The Piano Teacher" is no exception. This ambiguity is both a gift and a curse, as it is endlessly frustrating but also intriguing and may command multiple viewings. There were some thoroughly 'What the Fuck' moments as well, for example when Erika urinates on the ground of the drive-in theater.

   "The Piano Teacher" contains some distinctly 'Haneke'-esque annoyances like superfluous long takes but the film is startlingly adept in its power and never betrays itself with Hollywood B.S. or an inappropriately upbeat ending. Ultimately it is as as it's as enigmatic as it's heroine but less weirdly naive- it knows what it is and doesn't pretend to be anything else. Worth watching.
                                                   Rating-
                                                7.0/10

Extremely Loud & Incredibly Close (2011)

   Gentle and bittersweet, "Extremely Loud & Incredibly Close" is the second movie adaptation of "Everything is Illuminated" author Johnathan Safron Foer's novel. Although the movie is littered with stars such as Viola Davis, Tom Hanks, and Sandra Bullock, newcomer Thomas Horn steals the show in a flawless performance as Oskar Schell, a troubled eleven-year-old prodigy struggling with his dad (Hanks') death in the 9/11 terrorist attacks.

   Oskar could be rude, he could treat people sh**ty, but I immediately rooted for him. It helps that he reminded me of a friend of my brother's I'm fond of. While Oskar's dad was alive, he would send him on scavenger hunts. When Oskar rummages through his dad's closet and finds a key with a word on it, Oskar believes his father wants him to find the lock the key belongs to.

   Oskar probably has Asperger's, and that becomes a factor as he travels through New York City battling anxiety, loud noises, and his own worst fears about Urban terrorism. Meanwhile, his well-meaning mother (Sandra Bullock) tries to get through to her angry loner son. I wasn't sure about Sandra Bullock prior to this movie because I thought she was undeserving of the Oscar for "The Blind Side" but she was good here. You can't help but feel for her when her son throws angry words in her direction.

   Linda (the mom)'s unconditional love for her son touched me, as did her quiet grief, but Oskar and the otherwise unnamed 'The Renter' played by Max Von Sydow were my favorite characters. 'The Renter,' true to his title, rents a room from Oskar's grandmother and accompanies Oskar on his perilous quest.

   The only complaint I have with this movie is that the premise was very unrealistic. I mean, the word 'Black' that comes with the key could meet anything and Oskar is immediately on the right track. Not only that, but as Oskar looks for people with the last name 'Black,' he doesn't even think that not only is 'Black' a ridiculously common name, but there's no guarantee that if this 'Black' is a person, that they live in New York city!

   I liked Oskar a lot. I liked his way of looking at things. Thomas Horn interpreted Oskar honestly and touchingly. This is one of the most underrated child performances of all time (probably because the movie wasn't received well, for what reasons are mysterious to me.) I wanted him to be happy, and move beyond the tragedy of his dad's death and the tragedy of 9/11 in general. Many lives were affected that day, and this movie offers sympathy to both the lives lost and those left behind.

   To breach another subject, I thought the depiction of Asperger's  was very good as someone diagnosed with the condition. The funny, idiosyncratic things Oskar said seemed very typical for someone with AS, while his social anxiety was easy to relate to. A lot of movies exaggerate AS symptoms for 'Hollywood' effect, making the hero some kind of head-banging, socially defective prodigy. I mean "Rain Man," that was put out near the beginning of Autism research. But "Mozart and the Whale?" Seriously?

   And let's not forget how good the entire cast was throughout this movie. Tom Hanks, Sandra Bullock, Viola Davis, Max Von Sydow, Thomas Horn of course... they all played their roles wonderfully and were touching and likable. I'd say Von Sydow and Horn were the standouts among this amazing cast. Von Sydow as the silent renter had no spoken lines, but managed to convey emotion like a pro. I'm going to have to diverge from the critics and say this movie is absolutely worth seeing. It's worth it.
                                           Rating-
                                                 9.0/10

Understanding Jane (2001)

"Understanding Jane" is basically adequate as a talky lightweight Britcom, but becomes repellent and unconvincing when dealing with the romance between nice guy Elliot (Kevin McKidd) and vindictive, manipulating petty crook 'Dallas' AKA the Jane of the title (Amelia Curtis.) Attractive and pleasant McKidd and John Simm, as the friend give it their best shot and the girls (Curtis and Louisa Milwood-Haigh, as Curtis' partner in crime and Simm's love interest) follow suit, but nothing can endear this match made in hell to us.

   Elliot and Oz (Simm) respond to a personals ad and are coupled up with 'Dallas' and 'Popeye,' two good-time gals who proceed to ditch them with the bill. The guys eventually get their well-deserved revenge, but Elliot is drawn to Dallas, in that squabbling rom-com way. Dallas is just giving Elliot the run-around, but somehow she develops feelings for the poor sod. So, you would think she would repent from her toying with his feelings and we would see some character development on her part.

   The thing is, not really. She never seems to be particularly sorry for manipulating Elliot, or undergo any change. The final gag (her throwing his TV out the window after he is on the losing end of a bet) only shows how tight she has her talons wrapped around him. Elliot seems like a nice enough guy, and I feel sorry for him. Dallas is always playing with his feelings, and any seeming progression in her feelings toward him are really just a means to an end.

   There is a lot to dislike about this movie's technical competence (music that just sounds like background noise, fade-outs that inexplicably turn blue, grainy camerawork.) Also, despite a few clever come-backs and conversations, it simply isn't very funny. The plotline about Dallas' psycho ex goes pretty much nowhere, and gives us virtually no 'understanding' of her character.

   I loved John Simm on his short stint as a villain in "Doctor Who," and I like his character here, but it's hard to be involved when Jane's hold on Elliot dominate most of the movie. Also, what the f is with Dallas (Jane) introducing Elliot to the world of petty crime? 'Steal this CD.' And he does it! Elliot's getting by. He doesn't need to end up behind bars for petty theft. Is this Borderline behavior supposed to be cute?

   Dallas is cruel, narcissistic, manipulative and likes nothing more than to toy with naive Elliot's feelings. There's virtually nothing likable about her. It would be bad enough if the movie didn't enthusiastically condone Dallas' behavior. Are we supposed to believe that a relationship between strait-laced Elliot and cuckoo-crazy Dallas could ever work in the real world?

   I would not recommend this movie to anyone, although I did like some of the dialogue. Andrew Lincoln (Sheriff Rick on the AMC zombie drama "The Walking Dead") makes a brief appearance as a party guest. I don't like movies that celebrate imbecilic and hurtful relationships, with an emphasis on good-for-nothing women taking men on 'the ride of their lives.' That's just stupid. There's nothing wrong with playing it safe and not breaking the law for no discernible reason. Hope you enjoy my analysis, readers. Bye!
                                                Rating-
                                                    5.0/10

East is East (1999)

 Incorporating a blend of humor and heartbreak with ethnic issues, "East is East" sometimes seems awkward and wrong-headed, but it's successes are more plentiful than it's failures. The talented cast is a big plus, led by Om Puri and Linda Bassett as the wildly divergent parents, and Jordan Routledge as the adorable youngest child, Sajid.

   Manchester, 1971. George (Puri) is an old-fashioned Muslim and stern father of seven rebellious children, who are more white than Muslim and resent their father's interfering ways. Their mother, Ella (Bassett,) is an fairly assertive and modern British lady who tries to work out disagreements within the family. When Nazir (Ian Aspinall) panics during an arranged marriage ceremony and walks out on his bride, the clan is thrown into discord.

   As George becomes increasingly domineering and abusive, Sajid clings to his childhood like his well-worn parka that he never takes off. Ella tries to maintain some control over the deteriorating situation, and George becomes determined to marry off two of his oldest sons to two ugly brides.

   The odd mixture of strident comedy and domestic drama doesn't always work. Something like a amorous Great Dane or a vagina-shaped art project might seem mildly funny, but seems discordant among frank scenes of domestic violence. The acting is strong from the leads, and they help the movie quite a bit along the rough patches.

   Jordan Routledge is cute and expressive as the youngest lad of the family. Linda Bassett is convincing playing the frustrated, beleaguered matriarch, and while I didn't agree with all her decisions, I sympathized with her for the most part. George is not a cartoon cutout villain, but I think his treatment of his family might have been treated a bit more seriously if he weren't a 'traditional Muslim man.'

   Ella might defend her husband, but we modern girls know better- if a man gives us a black eye and menaces our children, he is O-U-T out! Religion is neither a defense or an excuse. *SPOILER ALERT* I don't like how she gets back together with him at the end. I guess it happens, but it wasn't a satisfying ending. She should have shown that b**tard the door. *END OF SPOILER*

   For the most part, "East is East" is a charming movie. I liked the character-based humor and the kids' antics. It would be annoying growing up in a big family like that. You wouldn't have any privacy! The kids were pretty much stacked on top of each other like a cheese sandwich. I had some problems with the film but overall I liked it.

   I think the treatment of the unattractive women in the film could've been a little less cruel, but like the ending, it's a reality of life that might not be pretty to face, but exists all the same. The world has a long way to go when it comes to being unbiased and dispelling shallow values. Overall a good movie.
                                                              Rating-
                                                7.5/10

Broken (2012)

Apparently "Broken" is 'inspired' by Harper Lee's much-loved classic "To Kill A Mockingbird," but I find "Broken" to be a better story with more well-developed characters (yes, you have found the one person in the world who isn't floored by "To Kill A Mockingbird"- don't stare, please, it makes me nervous.) It's certainly darker, as Lee's redemptive tone is replaced with unrepentant bleakness. The racial issues have been traded in, but the themes of injustice and the destruction of innocence remain.

   Spirited tween 'Skunk' (a powerful and expressive performance by newcomer Eloise Laurence) is stuck in that tricky transition between childhood and adulthood where matters of sexuality and maturity interest her, but are not quite within her grasp. Skunk's father, Archie (This generation's Atticus Finch,) (Tim Roth)  is an honorable man who loves his daughter with a fierce intensity but struggles to cope with her youthful antics.

   When Skunk's mentally challenged friend Rick (Robert Emms) is accused of rape and beaten by her redneck neighbor Mr. Oswald (Rory Kinnear,) Skunk is baffled just as much as Rick is- Rick has never laid a hand on Oswald's tramp of a daughter, and treats the situation with confusion and astonishment. He is portrayed in a very fine performance by Emms (who I saw just days before as a gay superhero in "Kick-Ass 2",) who resists the urge to overact and makes the character of Rick his own.

   Tim Roth is one of my favorite actors, and he does a good job here, but the entire cast is equally worth mentioning. Eloise Laurence is adorable and charming, but also shows real acting chops as compassionate Skunk. Cillian Murphy (known for films like "Batman Begins" and "28 Days Later) plays Archie's housekeeper's love interest, who soon becomes the target of Oswald's seething rage. He is flawed yet sympathetic, as are most of the characters.

   I did think the myriad disasters piling up for Skunk and Rick's families became a little bit melodramatic and hard to take. After a while it was like... really? Is there anything awful that's NOT going to happen to these people? There also could have been more build-up in the beginning scenes, instead of revealing everything immediately.

   I really liked the character of Skunk. I think the way she treats Rick says everything about her character. She acts totally like he's a normal person and talks to him accordingly, and never thinks it's weird that he's a grown man and they're friends. And her romance with local boy Dillon (George Sargeant) is appropriately chaste and really cute. She's a sweet, strong, and hearty girl, with a keen mind and a big heart. I liked the character of Rick too. He's a nice fellow, a little simple, and his fate saddens me.

   "Broken" is a powerful film and I'm not ashamed to say I liked it better than "To Kill A Mockingbird." So, it's a classic. Sue me. I hope Eloise Laurence has a big career ahead of her, but she's not the only rising star in this movie. Not many people can play the 'mentally handicapped' role without resorting to theatrics, and Rick is a profoundly sad and likable character. I recommend this film to drama lovers and people to like a sad, touching story.
                                             Rating-
                                                  8.0/10

Frances Ha (2012)

"Frances Ha" is admittedly not normally my type of movie, but I was sporadically entertained by its down-to-earth charm. Filmmaker Noah Baumbach, who skyrocketed to indie fame after acquainting us with a cast of outrageously cruel, petty, narcissistic characters in "The Squid and the Whale" (I guess I've made my stance clear on that movie,) squares in on the lifestyle of the big-city intellectual again in "Frances Ha," but at least now the characters are tolerable.

   Greta Gerwig gives a amiable performance as well-meaning, somewhat ditzy college grad Frances Halladay, who aspires to make it as a dancer. Her BFF is the bespectacled and kind of bitchy Sophie (Mickey Sumner,) and and two are as devoted as two friends ever were. When Sophie prepares to move to Japan with her boyfriend who she doesn't really love, 'Patch' (Patrick Heusinger,) Frances feels lost without her best friend, and her life starts to veer off the the tracks.

   Not a lot happens in this film. What's special about it is the real-life quality of the acting and dialogue. However, I did not like this as much as similarly naturalistic "Wendy and Lucy" because there was no high drama. I know, not every life contains a lot of intense drama. But in that movie Michelle Williams was struggling to keep her head above water financially and her fight to provide for her and her dog. She has a goal. Live. Or starve. We can't look away.

   Frances simply flounders. She complains about money, but scrounges up enough to take a trip to Paris where she never leaves her apartment. She lives with two hipsters for a while and it seems like something romantic is going to happen with one of them, but nothing ever does. She wants to dance, but lacks the talent to make it happen. Frances is a nice girl, but the film lacks immediacy.

   However, there are pleasures to be had from watching this movie. There is something to be said for getting entangled in a characters life, uneventful as it might be. Frances is a well-written character, and all the side characters seemed real. The down side- the astonishingly tasteless moment when drunken Sophie *SPOILER WARNING* stoically describes the miscarrying of her unwanted baby as 'cool' *END OF SPOILER*. Ouch. It's hard to have sympathy for her after that.

   I like the way this movie deals with the everyday awkwardness of relationships. The social difficulties Frances faces never seem forced or exaggerated. Anyone who has said something they later wish they hadn't (that's everybody,) drunk or sober, can relate to Frances. The film chronicles little moments on Frances' journey to become a self-made woman. I'm down with that. I just wish the story had been a little more arresting.

Note- This film is in black and white. Resident whiners and trolls beware. No it is not in color. No we do not need to hear how 'behind-the-times' or 'pretentious' the filmmaker is. You have been warned.
                                        Rating-
                                              6.5/10

The Cry of the Owl (2009)

"The Cry of the Owl" is a strange little movie featuring profoundly odd characters who perplexed the bejeezus out of me. It's a movie that grows on you once you get behind the rhythm of the storytelling. Paddy Considine, an actor who I absolutely love and have enormous respect for, plays a slightly awkward and rather lonely divorcee by the name of Robert Forrester, who routinely spies on a local woman (Julia Stiles,) watching her house from a hiding spot in the woods.

   Robert is caught by the girl, whose name is Jenny Thierouf, and she rather perplexingly invites him into her house, where she lives alone, her solitary life occasionally interrupted by the appearances of her boyfriend, Greg Wyncoop (James Gilbert.) It soon becomes apparent that she is to some degree fascinated with Robert's creepy interest in her.

   Unfortunately for Robert, Greg is the jealous type who proceeds to make Robert suffer, even after Jenny tells Greg under no uncertain terms that their relationship is over. When Greg attacks Robert and promptly goes missing,  poor Robert finds himself ostracized at every turn, and worse, a murder suspect.

   Based on a book by Patricia Highsmith, the film features interesting and well-written characters, from whom you never know quite what to expect. Robert displays inappropriate social behavior and never seems quite comfortable in his own skin at any given time, and it takes us some time to decide whether he is essentially harmless or a dangerous wacko. With her clipped monotone and bizarre segues, Jenny is a fragile soul, and although you feel kind of bad for her, you certainly don't trust her.

   The first thing I noticed was the unevenness of Paddy's American accent. Otherwise, he is very good as an introvert whose creepy nighttime activities have put him in hot water at work and home. Julia Stiles initially comes off as a rather stiff and uninterested presence, but we gradually warm up to her acting style, which ultimately fits the character.

   "The Cry of the Owl" is a slow burner, with a rather abrupt ending, that may appeal perfectly to some audiences and confound and alienate others. I liked the offbeat characters and I was sucked into the mystery plot. Not for all tastes, and it may need time to grow on you, but otherwise, an entertaining thriller.
                                                              Rating-
                                                   7.0/10

Tsotsi (2005)

Compelling and startling, "Tsotsi" chronicles a young thug in Johannesburg's surprising redemption. The somewhat quick development of the violent main character strains credulity, but the storytelling is so earnest (and the acting is so convincing) that it should suck in even the most hard-hearted cynic.

   "Tsotsi," whose name simply means 'thug,' is a man without hope, without love, without a future or aspirations higher than being a ruthless criminal. He is played with dead-eyed determination by virtual unknown Presley Chweneyagae, in a performance so good you wonder where this guy has been for the last ten or so years. Tsotsi is part of a violent gang, and mercilessly abuses those around him, commanding control in spite of his non-threatening appearance.


   When Tsotsi shoots a woman during a car-jacking and drives away with an unnoticed infant in the backseat, he is thrust into the role of caretaker that he never could have anticipated. But what can a gang member and murderer do for a newborn? Your maternal instincts will cry out as Tsotsi keeps the baby in a paper shopping bag and allows it's face to get dirty and crawl with ants.

   Gradually, something changes- Tsotsi is finally living for someone other than himself. His heart begins to ache, memories of his abusive childhood flood in. He forces a young mother (Terry Pheto) to serve a wet nurse for the newborn, and they build an unusual rapport. Meanwhile, the injured mother (Pumla Dube) of the baby desperately tries to locate her missing child.

   I'm glad the movie didn't take the easy way out and go with a sensationalistic ending. Director Gavin Hood knows how to build a tense climax without overplaying his hand, and I appreciate him for it. The acting was all around very good, and the script was strong.

   I guess the only problem I had with the film was that the premise was far-fetched. I honestly thing that a character like Tsotsi, if he was unable to kill the child, would have left in the car rather than taking the responsibility of caring for it (or trying to) upon himself. Anyway, if anyone can make us believe in Tsotsi, it's the talented Chweneyagae. "Tsotsi" is an interesting and well-made film, and definitely worth a watch for lovers of international moviemaking.
                                       Rating-
                                              7.5/10

A Room For Romeo Brass (1999)

Shane Meadows knows how to do a slow-burner. One of Britain's most powerful filmmakers, Meadows is a master of racketing up the tension in a seemingly ordinary situation. Never stupid, never sensational, he casts his unblinking eye on modern life in the UK and the fragilities of human relationships. If I had to choose between Meadows and Mike Leigh, I would pick Meadows, every time.

   "A Room For Romeo Brass" is about how an ordinary friendship can undergo extraordinary duress when a dangerous third party is added to the mix. Two preteen friends, white Gavin and mixed-race Romeo share a brotherly bond that is equal parts camaraderie and constant teasing. Gavin (Ben Marshall,) called 'Knocks,' has a bad back and a limp, and is in transition to another surgery.

   He's always up to a bit of mischief, and Romeo (Andrew Shim) is his softer-hearted other half. When a man named Morell (a very young Paddy Considine) rescues Gavin and Romeo from some bigger boys, he seems like a harmless, if eccentric, addition to the group. With his 'Simple Jack' haircut and halting speech, he doesn't readiate 'cool,'but he is friendly and can tell a sensational story like anyone.

   The thing about these kinds of stories is, if they sound too good to be true they probably are, but this matters nada to the boys and one of them, Romeo, is sucked in by his dynamic personality. Gavin thinks that Morell is a sucker and good for a mean practical joke. He's deadly wrong. As Morell reveals a dark, violent side, Romeo and Gavin's friendship is tested to it's outer limits.

 Shane Meadows found two good little actors in Shim and Marshall, but Considine is the main draw here. Considine, who would later astonish audiences, including myself, in Shane Meadows' grungy revenge indie "Dead Man's Shoes", puts a unique spin on a character who is probably suffering from an undiagnosed mental disorder.

   Like "Sling Blade"'s Karl or"Buddy Boy"s Francis, Morell's uniqueness is electrifying to watch. At times I was wowed by this apparently simple man's ability to coerce and manipulate, and wondered if his limitations were a ruse and he was, in fact, a very clever psychopath. The truth is much more complicated.

   Wait for the precise moment when the up-til-then likably dotty Morrel becomes suddenly sinister. It's mind-blowing. "A Room for Romeo Brass" glues your eyes to the screen, and tells a intense story about friendship and betrayal, about a wolf in sheep's clothing who fleetingly wins- if not earns- our sympathy nonetheless. With it's three-dimensional characters and incisive writing, it's nothing less than riviting. Bravo, Shane Meadows. Keep them coming.
                                                      Rating- 
                                                  9.0/10

The Miracle Worker (1962)

Blind, deaf, and mute, wild child Helen Keller was shut out from communication and terrorized her affluent Southern family, until willful teacher Annie Sullivan brought structure and discipline to Helen's life and through teaching communication offered Helen something entirely new- a way to speak, and a voice of her own. "The Miracle Worker" tells the true story of Keller's childhood, with a special touch of sensitivity and minimal sentimentality.

   Helen, who became a respected feminist and disability rights advocate, owes her success in no small part to Annie Sullivan, her teacher and friend. But it didn't start out that way. When Annie Sullivan (Anne Bancroft,) she is entangled almost immediately in a battle of wills with Helen (Patty Duke,) an unkempt girl seething with frustration and coddled by her exhausted family.

   Helen's family deals with the pressure of her upkeep in different ways- Captain Arthur Keller (Victor Killer) postures and demands respect and obedience from his beleaguered family, while Kate Keller (Inga Swenson) maintains the dutiful 'whatever you think is best' attitude of old-world Southern manners. Meanwhile older brother James (Andrew Prine) goofs off and mouths  off, while tensions between him and his domineering father simmer.

   There are no 'bad guys' here- no monsters in the closet who want to exploit Helen, no boogeymen who want to make the wretched girl suffer. Helen is not a saccharine movie character- she kicks, screams, and bites, and at one point quite deliberately stabs her teacher with a needle- but she is never reprehensible or unlikable, and we never lose sight of her unbearable frustration and anger.

  Patty Duke gives what is surely one of the best child performances of all time. Not once does she break character- we believe she is this wild, nearly feral deaf, blind, and mute girl. She excels beyond the portrayals most adult performers deliver of the disabled. The entire cast turn in excellent acting jobs.

   It is impossible not to feel enormous  respect for Annie Sullivan, as she refuses to take the easy way out (letting the child have her way) in the long, grueling process of educating Helen. When I saw the stage version of this at our local theater, the audience tittered and laughed at the scene where Annie tries to force her pupil to eat with a fork. In the film adaptation, nothing funny about it. Just pure grit.

   "The Miracle Worker" is a touching true story that is still effective years later, and can be enjoyed by the whole family. No blood guts n' sex, no infantile humor pandering the younger set, just powerful storytelling. It is a true classic that can be enjoyed for years to come.
                                   Rating-
                                          8.5/10

What Maisie Knew

What Maisie Knew (2012)

Directed By: Scott McGehee and David Siegel

Written By: Nancy Doyne and Carroll Cartwright, based on the novel by Henry James

My Rating: 4.5/5

Parenting is a job requiring strength, selflessness, and stability. Even when life is excruciatingly difficult, children's needs have to be put first, and they need to be protected. Unfortunately, most of us come into the job confused, seriously flawed, and struggling with our own maturity, and we screw up. A lot. We strive to learn and grow, and we pray that our kids will someday make enough money to pay their own therapy bills.

Elephant (2003)

"Elephant" is an interesting experiment, which could benefit from some editing and stronger acting. The ambiguity that surrounds the motivations of the killers is a frustrating, but perhaps relevant, critique of the shroud of confusion that surrounded the Columbine killings.

   Parents, teachers, bullies, and the media were all held under scrutiny, and many school shootings later, we're still holding candles in the dark as to what motivates these kids to kill their peers- and themselves- in a time that seems rich with possibility.