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

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

Tideland (2005)

"Tideland," Terry Gilliam's fantastical horror brain child, is an undeniably original, unmistakably repulsive journey into the life and mind of one troubled little girl (Jodelle Ferland.) To say it outstays it's welcome it an understatement, the film clocks at over two hours and leaves an undeniably bad taste in one's throat. The characters are hard to comprehend, much less like or understand.

   All this would be bad enough without the bizarre intro by Terry Gilliam, who vaguely informs us that children 'bounce back' from situations such as these and tells us 'don't forget to laugh.' But what is there to laugh at in a disgusting horror show such as this?  it's as if Dave Peltzer of 'A Child Called It' fame had promised us a knee-slapping good time.

Any Day Now (2012)

Alan Cumming is one of the most eccentric and talented character actors in the business, and "Any Day Now" allows him to stretch his acting muscles in a rare leading role.

 Set in 1979 California, "Any Day Now" tells the story of Rudy Donatello , a gay nightclub performer who enlists the help of his rich lawyer boyfriend Paul(Garret Dillahunt) when his next-door neighbor, a mentally handicapped teenager, is abandoned in Rudy's dive of an apartment complex by his drug addled mother.

   The kid, Marco, is taken in by the two men, who give him hope for a better life. "What do you eat for breakfast?" Rudy asks, to which Marcus answers, "Doughnuts." The kid's not joking. Mom, in her infinite wisdom, has been presenting her obese son with a daily serving of chocolate doughnuts, the cornerstone of any nutritious breakfast.

Girlfriend (2010)

I can't believe it! A film with a disabled character who isn't a maudlin stereotype? Will wonders never cease? "Girlfriend," in the spirit of "Sling Blade" or "Treacle Jr.," creates a unique and engaging protagonist with a intellectual impairment. But this time, the actor who plays the lead (Evan Sneider) is also disabled.

   Afflicted with Down Syndrome, Evan (Sneider) lives with his mother (Amanda Plummer) in a small town that offers few options. Meanwhile Evan is enamored with old high school crush and single mother Candy (Shannon Woodward), whose feelings toward Evan and his challenges are ambiguous.

   Into this scenario swaggers Candy's white trash ex-boyfriend Russ (Jackson Rathbone, venomously unlikable and liberated from the "Twilight" franchise). When Evan's mother dies, his attraction to Candy only intensifies, and all three are caught in triangle that will leave none untouched.

Dead Man's Shoes (2004)

   Bloody and brilliant, "Dead Man's Shoes" is an emotional rollercoaster from beginning to end. The 57% rating on Rotten Tomatoes is both a crying shame and a sacrilege, because this is Shane Meadows' masterpiece -- a film that transcends the revenge genre, delivering a heart-pounding, intense story that lets events unfold in a way that is anything but simple.

   Richard (Paddy Considine) returns home from military service with no intention of living a nice quiet life and settling down. The target of his rage: a low-rent drug gang that did some terrible things to his borderline simple brother Anthony (Toby Kebbell) some time before.

    After Richard threatens a drug dealer and later gives him an unsettlingly twitchy apology, the gang of thugs suspect that ol' Anthony's brother might be a few screws short of a tool box, but don't know how to react. Sonny (Gary Stretch), the most sadistic and smartest (and in a group like this, that's not saying much), takes charge as best as he is able, but they are no match for Richard's cool-headed brutality and military training.

An Infinite Tenderness

"An Infinite Tenderness" is a beautiful piece of fiction, disguising itself as a documentary, exploring the world of brain-damaged children. It has no A-listers and no dialogue, but is probably more moving than any other film you'll see this year.

Let Him Have It

   This is a movie for anybody who thinks the death penalty is a black-and-white issue. In Let Him Have It, based on a real case that happened in 1950's Britain, an underage but guilt-free sixteen-year-old is put in prison, while his mentally retarded nineteen-year-old accomplice is put on death row.

    Derek Bentley (Christopher Eccleston, who you may know from several modern horror films or as the 9th Doctor) has been addled since he was injured during the London bombings, in which he was covered in rubble and suffered head trauma. He is left with the IQ of a eleven-year-old, limited options, and a trusting soul.

    Some years later, he is released from a correctional institution and brought back to his London home. Embarrassed by his term in the school, he remains housebound for a year, until his caring sister convinces him to leave the house.

    Derek, due to his naivete, cannot seem to stay out of trouble, and gangster-wannabe Christopher Craig (Paul Reynolds) quickly takes notice of him, proving what we already suspect -- in reality, hoods, gang members, and other criminals don't pick rocket scientists for their schemes. They pick the naive, the trusting, and the intellectually weak, those who will stay with them just long enough to take the heat off off them if and when they get caught.

    In Derek, Chris finds just that, and soon Chris, Derek, and Chris' group of slackwits are raising hell. Derek's family, a good family, tries to keep him out of trouble, but Derek's need to be accepted is too strong. Then the duo goes too far, and the crime and the ambiguity of Derek's part in it throws everyone involved into turmoil.

     How can you justify the execution of a man with the mind of an eleven-year-old? That is the question on hand in Let Him Have It, which also asks, to a lesser degree, can we even support the government's decision to end a human life? Call me Liberal, but I question these things.

    The acting is good from all the leads. Despite the fact that Chrisopher Eccleston never really convinced me he was truly mentally retarded, he's a capable actor, and the performances of his parents (Tom Courtney and Eileen Atkins) and sister (Clare Holman) are moving and emotional.

    There is, however, an awe-inducing scene (not a good awe) plucked straight from Beethoven's 2nd -- yes, I know this came first -- in which our none-too-bright hero watches his crush walk past, as -- ugh -- music starts playing. This and the excessive piano music occasionally makes it a hard pill to swallow.

   The movie tries to make you sympathize with Derek. Maybe it tries too hard. But although I suspect it amps up the drama and exaggerates certain details to make you feel sympathy for the young man, it succeeds to a point and brings up a political issue many people take for granted.

 

 

Treacle Jr.

No one does slice-of-life drama and acerbic humor like the Brits, and the curiously named Treacle Jr. showcases this, as well as some damned good acting from the cast, particularly Aidan Gillen (Queer As Folk, Game Of Thrones) as Aidan. (It seems kind of cheap when the screenwriters can't come up with their own names; does anyone agree?)

    Treacle Jr., as it so happens, is a kitten, Aidan is a childlike man in an unhealthy relationship, and Tom (Tom Fisher) steps quite by accident into the situation, in the process of getting out of another. Unable to bear for another minute the responsibilities of parenthood and family life, Tom (Fisher) walks out on his wife and baby and, after running out of cash, seeks a new means of livelihood on the streets of London.

    Inexplicably, he is attacked and injured by a gang of thugs, and while at the police station, he meets Aidan, who is comparing the woman at the front desk's hair to an Irish Setter's in an attempt at flirtation.

    Aidan's the kind of guy most people stay away from. He's earnest, hyper, and completely free of any social graces. Aidan's naive and enthusiastic to a fault, but Tom soon discovers he has problems too, namely Linda (Riann Steele), his "girlfriend," a volatile bag of nuts who beats on Aidan, dubs him a "retard," and in one painful scene, tries to rape him.

   She's a barrel of laughs. People who find this situation unlikely need only think again. What does society think of men who hit women? If Aidan were to so much as take a swing at Linda in self-defense, she'd need only pull a pouty face to the police and Aidan would be sent up to the big house. Maybe it's a bit of an exaggeration, but it's something to think about.

    The story chronicles the meeting and eventual friendship between the two men, despite Tom's initial urgent attempts to get away from Aidan, who has the boundless enthusiasm of a horny beagle. Now Aidan, he's an interesting character. Devoid of the marketability of endearing innocents like Forrest Gump, he is good-hearted but entirely oblivious to his effect on people. He was not written to be liked. I liked him.

   If this was to be remade in America, there would be some adjustments made. Linda's race would be changed, the gender roles would be switched, and the movie would become a feminist power flick. But it will not be remade because it was not highly successful, and it's a good thing, too. Treacle Jr. intrigues and challenges, doing what British films do best.