down-emily
Lifetime Total
10+
IMDb Member
15 years
Reviews
Fish Tank (2009)
Oh, Mia
Watching this movie felt like a painful, yet necessary experience. This is coming from someone who nearly loved the movie. But it's true, no matter what you think about it, Fish Tank is not easy to watch, at times. I'm not saying it's particularly gritty, but it just rings too close to home to ignore. We deal with this image every day, we see these kids, wasting their lives and their talents between grey walls, staring into space emptily, trying to get away from some shitty family and we see that shitty family, living in a piling mess of mediocrity. And after we see this, we try to run away quickly, cover our eyes and pick a comforting view again.
Fish Tank is a love or hate movie, I've come to realize. I loved it, but my roommate for example, hated it. She hated the fact that no character was redeemable in any way and that the plot went nowhere. But most of all, she hated the feeling the movie gave her, of total and complete alienation.
Funny thing, that's what I loved about the movie. The atmosphere, as bleak and desolate as it was, made me appreciate a great deal of small things this movie subtly hints at, such as sisterhood, the beauty of nature, car rides, horses and empty apartments. It sounds strange, but the movie actually painted a bright image, a very bright image of pain.
It's not dark and hopeless, it's just staggering in its hope, which makes it all the more painful. All throughout this movie, each character seems to strive towards something. It can be meaningless and stupid to us, but to them, it's everything. It doesn't matter why they strive. The fact that their attempts all crumble into a jaded sense of hopelessness is of greater impact. Because it doesn't start out with hopelessness and it doesn't end with hopelessness. It's the crushing feeling in between that takes you to a new emotional level. It's the middle of the movie that shows you what real despair can feel like. And to me it felt like a muffled shout. As if Mia was trying to scream, but someone had shoved silence in her mouth. From the outside, this movie can be about Mia's journey towards a new life, not better, but still different. But on the inside, it can be about the end of Mia's journey into herself.
I think it's very important to understand that Mia never wanted a lover in Connor. Sure, she thought about him that way and she had an obvious crush on him, but she's fifteen, she's allowed to confuse feelings and be attracted to handsome, older men. But Mia really started liking Connor when he showed kindness and attention. She never wanted to be another girlfriend, she wanted to be someone important in his life, because she wasn't important to anyone in general. She thought she'd found solace in him and that he would take her away from everything. It's the childish illusion of escape through someone else. It's the disappointment when she discovers he's run away that makes this character so solid for me. Mia is not angry he ran off after sex. And even when she finds out he'd lied all that time and he had another life with his wife and child, she doesn't act like the other woman, betrayed by a lover. She just feels let down. She allowed herself to hope and she got nothing in return. Disappointing children is one of the worst things adults can do. And Connor does just that, making Mia feel like a small child again.
I see a striking parallelism between her and his young daughter. She takes Connor's daughter in a fit of rage, but she discovers they're both just as fragile. And Mia hates being fragile. She quietly hates the fact that Connor saw her as an attractive girl first and only later as a kid. But I suspect she also hates herself for having caused this shift in the first place, for having led Connor, through her somewhat innocent flirtations, to see her first in a sexual manner and second, as a friend. But any guilt she might feel she directs at him, for putting her in an impossible position. It's at this point that I understood Connor's failure to be a father figure had become her failure to be a daughter. She feels so disconnected to her mother that all she can do as she leaves her home is to share a last dance with her. She's become a woman in that horrible sense of the word, forcing her innocence and inexperience to become weapons and playing on the fact that her status will always depend on her sexuality (and this is cleverly hinted at in the audition scene).
Despite all of this, Mia is still a strong character. She refuses to get naked, refuses to be beaten down, refuses to give up dancing, refuses to let herself get drowned in her mother's world. It's always annoying when teenagers pick 'No' as their favourite word. But in this case, her blatant rejection of everyone and everything is not a bratty act of self-sufficiency, it's a desperate cry for acceptance, for a 'Yes'. In the end, what's sad is that she is proved right, that rejection would have saved her some unnecessary pain. But the last scene manages to turn this grim conclusion into a double-edged sword. Rejection would have saved her the trouble, but acceptance is still another form of rejection. By accepting to move on, she rejects her old life, she rejects her mother and she rejects becoming another 'problem kid' in a correctional facility (because that's what would have happened, had she gone further with her kidnapping). So, if we take a closer look, are rejection and acceptance much different? No, they both require each other for either one to be effective.
Fish Tank is a love or hate movie, I've come to realize. I loved it, but my roommate for example, hated it. She hated the fact that no character was redeemable in any way and that the plot went nowhere. But most of all, she hated the feeling the movie gave her, of total and complete alienation.
Funny thing, that's what I loved about the movie. The atmosphere, as bleak and desolate as it was, made me appreciate a great deal of small things this movie subtly hints at, such as sisterhood, the beauty of nature, car rides, horses and empty apartments. It sounds strange, but the movie actually painted a bright image, a very bright image of pain.
It's not dark and hopeless, it's just staggering in its hope, which makes it all the more painful. All throughout this movie, each character seems to strive towards something. It can be meaningless and stupid to us, but to them, it's everything. It doesn't matter why they strive. The fact that their attempts all crumble into a jaded sense of hopelessness is of greater impact. Because it doesn't start out with hopelessness and it doesn't end with hopelessness. It's the crushing feeling in between that takes you to a new emotional level. It's the middle of the movie that shows you what real despair can feel like. And to me it felt like a muffled shout. As if Mia was trying to scream, but someone had shoved silence in her mouth. From the outside, this movie can be about Mia's journey towards a new life, not better, but still different. But on the inside, it can be about the end of Mia's journey into herself.
I think it's very important to understand that Mia never wanted a lover in Connor. Sure, she thought about him that way and she had an obvious crush on him, but she's fifteen, she's allowed to confuse feelings and be attracted to handsome, older men. But Mia really started liking Connor when he showed kindness and attention. She never wanted to be another girlfriend, she wanted to be someone important in his life, because she wasn't important to anyone in general. She thought she'd found solace in him and that he would take her away from everything. It's the childish illusion of escape through someone else. It's the disappointment when she discovers he's run away that makes this character so solid for me. Mia is not angry he ran off after sex. And even when she finds out he'd lied all that time and he had another life with his wife and child, she doesn't act like the other woman, betrayed by a lover. She just feels let down. She allowed herself to hope and she got nothing in return. Disappointing children is one of the worst things adults can do. And Connor does just that, making Mia feel like a small child again.
I see a striking parallelism between her and his young daughter. She takes Connor's daughter in a fit of rage, but she discovers they're both just as fragile. And Mia hates being fragile. She quietly hates the fact that Connor saw her as an attractive girl first and only later as a kid. But I suspect she also hates herself for having caused this shift in the first place, for having led Connor, through her somewhat innocent flirtations, to see her first in a sexual manner and second, as a friend. But any guilt she might feel she directs at him, for putting her in an impossible position. It's at this point that I understood Connor's failure to be a father figure had become her failure to be a daughter. She feels so disconnected to her mother that all she can do as she leaves her home is to share a last dance with her. She's become a woman in that horrible sense of the word, forcing her innocence and inexperience to become weapons and playing on the fact that her status will always depend on her sexuality (and this is cleverly hinted at in the audition scene).
Despite all of this, Mia is still a strong character. She refuses to get naked, refuses to be beaten down, refuses to give up dancing, refuses to let herself get drowned in her mother's world. It's always annoying when teenagers pick 'No' as their favourite word. But in this case, her blatant rejection of everyone and everything is not a bratty act of self-sufficiency, it's a desperate cry for acceptance, for a 'Yes'. In the end, what's sad is that she is proved right, that rejection would have saved her some unnecessary pain. But the last scene manages to turn this grim conclusion into a double-edged sword. Rejection would have saved her the trouble, but acceptance is still another form of rejection. By accepting to move on, she rejects her old life, she rejects her mother and she rejects becoming another 'problem kid' in a correctional facility (because that's what would have happened, had she gone further with her kidnapping). So, if we take a closer look, are rejection and acceptance much different? No, they both require each other for either one to be effective.
Boardwalk Empire (2010)
Damn Good Start
Boasting only a pilot episode (for now), Boardwalk Empire proved to be highly entertaining, at least for me. I never once thought it was slow, although if I recall correctly, the premiere lasted for more than an hour, and I didn't think it was overstuffed or overly dramatic, as many have taken the time to notice. Well, okay, maybe it was a little high-strung towards the end, but it managed to restrain itself nicely on that account. I mean, it could've been much worse.
But that's not the kind of sentence I'd like to employ with this series. I can tell this is going to be a good one. Not because we have as backdrop the fiery, blood-fuelled mob wars between two powerful cities, or the facetious, slippery trade of liquor during the Prohibition era.
While all these are very interesting to watch in their own respect, especially the accurate depiction of the violence and crimes of the time, what I like best about this show, so far anyways, are the characters.
I am not saying the plot isn't fairly fascinating itself, but I am more drawn to the protagonist, rather than the actual story. Nucky Thompson is fascinating to watch simply because he is a lonely man with too many people around him. He is like an island (cleverly depicted in the opening theme), standing in the midst of a raging era. He is a strong man with a strong head, but when it comes to his heart, well - he tends to show a much more vulnerable side. He looks like a cold bastard and acts like a pragmatic, self-complacent, crafty and almost cruel business man. At the same time, however, he's a warm fellow, with a heart made of tiny sheets of gold, that likes to protect all things pristine and innocent in the world. He is almost too aware of the fact that he can't accomplish that. He knows that his principles, while set in stone, are morally wrong and that he can't do his job and also do what he thinks is right. He can't be half a gangster, as Jimmy tells him. So he compromises and tries doing both, with somewhat peculiar consequences. Here is man who can seem completely accustomed to the world he lives in, while, simultaneously, finding a hard time adjusting to it.
When Steve Buscemi's character (who, by the way, was perfectly cast in my opinion - opinion which is not shared by many apparently) gives his touching, over-the-top, speech at the beginning of the episode, narrating how he procured some rats as dinner for his family on a cold winter night, we know it's a ruse and we as audience can already guess he is using it as a ploy to earn the trust and admiration of the ladies gathered there. And yet, we kind of hope and believe that part of his story is true. And that, although he lied about it, in his heart, he would actually do that. And that, a bit of that little boy resembles this grown weary man. You almost start thinking, towards the end of the episode, that maybe he wasn't lying to them at all,that maybe he was actually telling a real story. And that's when the character becomes fascinating to watch.
And Nucky isn't the only character to watch. There are many well-rounded characters here that surprised me in many good ways. I never expected this much depth from these supporting characters. At least at first, Jimmy's character did not seem so complex to me. It's only when the story progresses, that we do see how twisted the little fellow really is.
Same goes for Arnold Rothstein's character, played by the grossly underrated Michael Stuhlbarg, as a cool, stoic mobster with a charming and affable personality. His poised elegance appears almost sinister at times. Especially after his gambling success, when he explains to Nucky how in actuality, he's the one who owes him money. Another good one for me is Margaret's character, the abused Irish wife that Nucky takes a peculiar interest in. Her quiet innocence and deliberate, unaffected candour make for a refreshing change from the sensual femme fatale of the jazz era, portrayed by Nucky's girlfriend. Many critics complained that she is a stale stereotype of the victimised woman portrayed as a saint, as opposed to the promiscuous vain, self-absorbed tart. So this would be the reason why Nucky's interested in her. But I disagree, she brings a lot more to the screen than a stereotype of an abused wife. Yes, she is placed there to show a contrast between different women at the time, but she has something of her own, her expressions, her mannerisms, her actions that speak louder than her role and position in society. For me at least, she was riveting to watch.
The weak characters of the show (like Van Alden, Lucy or Lucky Luciano) I suppose have not yet been developed after only one episode and I look forward to seeing more of them.
However, all in all, the cast is a delight to watch. And for me, the characters make this show better than it actually is. The plot is elegantly handled (I speak as an amateur of this particular genre) and it swerves and turns enough times to distract us from any loose ends, making sure we focus on some key moments of the story, but the characters really do bring out the best of it, for me at least.
I give it a nine, because I have a feeling this show will grow into something worthwhile.
But that's not the kind of sentence I'd like to employ with this series. I can tell this is going to be a good one. Not because we have as backdrop the fiery, blood-fuelled mob wars between two powerful cities, or the facetious, slippery trade of liquor during the Prohibition era.
While all these are very interesting to watch in their own respect, especially the accurate depiction of the violence and crimes of the time, what I like best about this show, so far anyways, are the characters.
I am not saying the plot isn't fairly fascinating itself, but I am more drawn to the protagonist, rather than the actual story. Nucky Thompson is fascinating to watch simply because he is a lonely man with too many people around him. He is like an island (cleverly depicted in the opening theme), standing in the midst of a raging era. He is a strong man with a strong head, but when it comes to his heart, well - he tends to show a much more vulnerable side. He looks like a cold bastard and acts like a pragmatic, self-complacent, crafty and almost cruel business man. At the same time, however, he's a warm fellow, with a heart made of tiny sheets of gold, that likes to protect all things pristine and innocent in the world. He is almost too aware of the fact that he can't accomplish that. He knows that his principles, while set in stone, are morally wrong and that he can't do his job and also do what he thinks is right. He can't be half a gangster, as Jimmy tells him. So he compromises and tries doing both, with somewhat peculiar consequences. Here is man who can seem completely accustomed to the world he lives in, while, simultaneously, finding a hard time adjusting to it.
When Steve Buscemi's character (who, by the way, was perfectly cast in my opinion - opinion which is not shared by many apparently) gives his touching, over-the-top, speech at the beginning of the episode, narrating how he procured some rats as dinner for his family on a cold winter night, we know it's a ruse and we as audience can already guess he is using it as a ploy to earn the trust and admiration of the ladies gathered there. And yet, we kind of hope and believe that part of his story is true. And that, although he lied about it, in his heart, he would actually do that. And that, a bit of that little boy resembles this grown weary man. You almost start thinking, towards the end of the episode, that maybe he wasn't lying to them at all,that maybe he was actually telling a real story. And that's when the character becomes fascinating to watch.
And Nucky isn't the only character to watch. There are many well-rounded characters here that surprised me in many good ways. I never expected this much depth from these supporting characters. At least at first, Jimmy's character did not seem so complex to me. It's only when the story progresses, that we do see how twisted the little fellow really is.
Same goes for Arnold Rothstein's character, played by the grossly underrated Michael Stuhlbarg, as a cool, stoic mobster with a charming and affable personality. His poised elegance appears almost sinister at times. Especially after his gambling success, when he explains to Nucky how in actuality, he's the one who owes him money. Another good one for me is Margaret's character, the abused Irish wife that Nucky takes a peculiar interest in. Her quiet innocence and deliberate, unaffected candour make for a refreshing change from the sensual femme fatale of the jazz era, portrayed by Nucky's girlfriend. Many critics complained that she is a stale stereotype of the victimised woman portrayed as a saint, as opposed to the promiscuous vain, self-absorbed tart. So this would be the reason why Nucky's interested in her. But I disagree, she brings a lot more to the screen than a stereotype of an abused wife. Yes, she is placed there to show a contrast between different women at the time, but she has something of her own, her expressions, her mannerisms, her actions that speak louder than her role and position in society. For me at least, she was riveting to watch.
The weak characters of the show (like Van Alden, Lucy or Lucky Luciano) I suppose have not yet been developed after only one episode and I look forward to seeing more of them.
However, all in all, the cast is a delight to watch. And for me, the characters make this show better than it actually is. The plot is elegantly handled (I speak as an amateur of this particular genre) and it swerves and turns enough times to distract us from any loose ends, making sure we focus on some key moments of the story, but the characters really do bring out the best of it, for me at least.
I give it a nine, because I have a feeling this show will grow into something worthwhile.
A Serious Man (2009)
Dazed and Confused...and Enraged!
I am generally mystified by this movie's rating on IMDb. No, I am at a loss for words right now. Giving a movie 7.2 means that movie was good, certainly an enjoyable experience but not exactly memorable, perhaps a feel-good movie with some nice performances, but that's it.
But giving A Serious Man a 7.2 is probably clear proof that we're heading towards the end and our fall can no longer be prevented. This is tragic. This means we no longer enjoy movies for what they are, this means the end of an era.
You're telling me that Eternal Sunshine of the Spotless Mind gets an 8.4 on the chart and is in top 250, but A Serious Man gets a 7.2? And I don't mean to insult the movies in top 250. I generally think most of them deserve to be there. But I just can't sit by and acknowledge these glaring injustices. The Proposal, that 2009 romantic comedy that was anything but sweetly mediocre got a 6.8 rating. And you might love Sandra Bullock and give her a ten no matter what she does, but how can you give A Serious Man only 7.2?
I know I'm subjective right now, but this really pisses me off. This movie is amazing. It is a brilliant satire and a beautiful look into a troubled man's life. The sheer humour and absurdity of this story should be enough to make it one of the best movies of 2009 and a Coen brothers achievement. But instead we get a 7.2.
Shakespeare in Love got a 7.4 but no, A Serious Man gets a solid...7.2.
And another thing, it was nominated at the Oscars but won no award, whereas Startrek went home with one in the bag. I'm not saying it did not deserve it, the makeup as I saw it was pretty awesome, but guys how about honouring a fascinating piece of cinema?
No? Well then, I guess we're truly lost.
But giving A Serious Man a 7.2 is probably clear proof that we're heading towards the end and our fall can no longer be prevented. This is tragic. This means we no longer enjoy movies for what they are, this means the end of an era.
You're telling me that Eternal Sunshine of the Spotless Mind gets an 8.4 on the chart and is in top 250, but A Serious Man gets a 7.2? And I don't mean to insult the movies in top 250. I generally think most of them deserve to be there. But I just can't sit by and acknowledge these glaring injustices. The Proposal, that 2009 romantic comedy that was anything but sweetly mediocre got a 6.8 rating. And you might love Sandra Bullock and give her a ten no matter what she does, but how can you give A Serious Man only 7.2?
I know I'm subjective right now, but this really pisses me off. This movie is amazing. It is a brilliant satire and a beautiful look into a troubled man's life. The sheer humour and absurdity of this story should be enough to make it one of the best movies of 2009 and a Coen brothers achievement. But instead we get a 7.2.
Shakespeare in Love got a 7.4 but no, A Serious Man gets a solid...7.2.
And another thing, it was nominated at the Oscars but won no award, whereas Startrek went home with one in the bag. I'm not saying it did not deserve it, the makeup as I saw it was pretty awesome, but guys how about honouring a fascinating piece of cinema?
No? Well then, I guess we're truly lost.
Freeway (1996)
Only 6.8???? Really? Underrated is an Understatement!
I can't believe this is the score for this movie. It's sheer brilliance. This film is a masterpiece thriller, full of amazing performances. For its time, it is a HUGE eye-opener and an outstanding attempt to recreate the fairy tale in a suburban fashion. It is simply riveting and very satisfying in terms of plot, action and character.
I have never seen Reese Witherspoon kick so much ass ever. I don't understand why she didn't get any Oscar buzz for this one. This performance completely tops her part in Walk the Line. She is more than amazing in this film. You really don't wanna mess with her. She is capable of almost anything after what's been done to her. We still sympathize with her though because she's still compassionate and cares for what is right. She has a set of principles that she won't let anyone tread on. Being more of a Punisher, she is that strong heroine that uses her sense of justice to subdue those who wrong her, but at the same time, she's all about instinct and guts, she isn't your Lara Croft or your fancy Black Widow. She just acts on pure instinct of what is right and she understands that most of the time, reality is screwed up and doesn't care for what is wrong or right.
I was left speechless at the sheer simplicity with which she conveys so much pain, anger and most of all strength. At the same time, I couldn't believe my eyes when I saw what she could do. At the beginning of the movie, you can't picture her as that tough. But by the end of it, even those cops were smiling at her, thinking 'Okay, let's never upset this one or we'll get our asses whooped!'
As for Sutherland, wow, he can play a real creep when he wants to and be good at it too. His facial expressions and his gestures tell everything you need to know about him as a killer. And at the beginning, when he's playing the good guy, he's so believable you know right away he's sure to be off his bonkers. I have to admit though, he's a tad underplayed. There's not enough focus on him. Also, I was expecting a little bit more from him, but Reese made up for whatever was missing.
As a side note, Brittany Murphy is another nice touch to this movie. I have seen this kind of performance before, but I think she made it personal, as in she made you believe that she was the one going through all of that. I just wish she could have played more parts like this one, but I guess we'll never see that happening now...
I definitely recommend this movie to anyone who wants to see Reese Witherspoon show her acting props. I really miss this side of her. Now she's more into sweet, sugary indie movies which aren't all bad, they just don't give her much to work with and waste some of her huge potential. Oh and that accent of hers needs to take front stage right now, it's adorable!
Go watch this movie and you won't regret it!
I have never seen Reese Witherspoon kick so much ass ever. I don't understand why she didn't get any Oscar buzz for this one. This performance completely tops her part in Walk the Line. She is more than amazing in this film. You really don't wanna mess with her. She is capable of almost anything after what's been done to her. We still sympathize with her though because she's still compassionate and cares for what is right. She has a set of principles that she won't let anyone tread on. Being more of a Punisher, she is that strong heroine that uses her sense of justice to subdue those who wrong her, but at the same time, she's all about instinct and guts, she isn't your Lara Croft or your fancy Black Widow. She just acts on pure instinct of what is right and she understands that most of the time, reality is screwed up and doesn't care for what is wrong or right.
I was left speechless at the sheer simplicity with which she conveys so much pain, anger and most of all strength. At the same time, I couldn't believe my eyes when I saw what she could do. At the beginning of the movie, you can't picture her as that tough. But by the end of it, even those cops were smiling at her, thinking 'Okay, let's never upset this one or we'll get our asses whooped!'
As for Sutherland, wow, he can play a real creep when he wants to and be good at it too. His facial expressions and his gestures tell everything you need to know about him as a killer. And at the beginning, when he's playing the good guy, he's so believable you know right away he's sure to be off his bonkers. I have to admit though, he's a tad underplayed. There's not enough focus on him. Also, I was expecting a little bit more from him, but Reese made up for whatever was missing.
As a side note, Brittany Murphy is another nice touch to this movie. I have seen this kind of performance before, but I think she made it personal, as in she made you believe that she was the one going through all of that. I just wish she could have played more parts like this one, but I guess we'll never see that happening now...
I definitely recommend this movie to anyone who wants to see Reese Witherspoon show her acting props. I really miss this side of her. Now she's more into sweet, sugary indie movies which aren't all bad, they just don't give her much to work with and waste some of her huge potential. Oh and that accent of hers needs to take front stage right now, it's adorable!
Go watch this movie and you won't regret it!
The Ugly Truth (2009)
This ugly thing...
I am pretty sure Katherine Heigl attempted to hit herself with a brick several times after realizing she has done probably the worst movie in her career, and that's saying a lot. This woman never learns. She goes from one bad movie to the next. She is unstoppable. Soon, this won't even be funny anymore. The Ugly Truth is her statement that she hates movies. That must be it. Why she would produce this is beyond my feeble understanding. Why she would let herself be man-handled and made a complete idiot by Gerard Butler is still a mystery that haunts me. Oh and speaking of Gerard Butler, why do I have a feeling that he actually enjoyed shooting this? I think he just wanted to say loads of crap about women and didn't know how. I'm assuming he wanted to take advantage of them in the lowest way possible but had never had the chance to do so before. Or maybe he isn't a big fan of Katherine and just wanted to trash her for ninety minutes. Either way, both actors should feel ashamed and appalled for starring in this half-assed sex-ad. The three stars that I am honouring this movie with are a token to probably the best actor in this pile of dump: the little kid that got hold of Katherine's remote (for her you know what)
Amintiri din epoca de aur (2009)
Brilliant, beyond words!
As a Romanian girl who did not catch the socialist republic, I must say this movie put everything into perspective for me. I loved every minute of it and laughed at the sheer charm captured on screen. Romania is a wonderful country full of fascinating people, but this movie just goes one step beyond. I grew up in the nineties, a period of transition from communism to democracy, so some of the atmosphere here I found in my daily life with my grandparents and I felt so touched to see that atmosphere come to life once more. The script and the direction were perfect in my opinion and every second of this movie is pure genius. I recommend it to everyone who wants to see a cheerful side of the Romanian dictatorship. You will definitely not regret it.
It Happened One Night (1934)
Made my day
OK, so this movie can't be qualified as good just because it was made in the 30s...but coincidentally it is a pretty good movie, a great one, I think. When people say the plot to this is predictable, I say "fine, the ending is, but the journey there sure isn't". For the time and age this movie is very refreshing and it's almost amazing how being one of the first to fall in the category of "chick flicks" it still isn't one, because:
1. It's not clichéd in any way.
2. Most of it is comedy, focusing little on the romance and delving more into comical situations and mix-ups.
3. The bit that is romance is sweet and nice without overdoing it, playing off a real situation, not a fairy tale one.
I guess this seems paradoxical but this movie's romance department is quite realistic. I appreciated the ending a lot, no kiss (though it wouldn't have hurt :)) no mushy declaration, no ostentatious proposal, just a nice pun well-played out and charmingly unforgettable. I give this movie 9 out of 10 because I didn't like the wedding sequence. I guess that was the only gag that didn't make it the perfect afternoon movie. Other than that you should all go and see this classic. Plus, Clark Gable is way sexier here than in Gone with the Wind.
1. It's not clichéd in any way.
2. Most of it is comedy, focusing little on the romance and delving more into comical situations and mix-ups.
3. The bit that is romance is sweet and nice without overdoing it, playing off a real situation, not a fairy tale one.
I guess this seems paradoxical but this movie's romance department is quite realistic. I appreciated the ending a lot, no kiss (though it wouldn't have hurt :)) no mushy declaration, no ostentatious proposal, just a nice pun well-played out and charmingly unforgettable. I give this movie 9 out of 10 because I didn't like the wedding sequence. I guess that was the only gag that didn't make it the perfect afternoon movie. Other than that you should all go and see this classic. Plus, Clark Gable is way sexier here than in Gone with the Wind.
About Schmidt (2002)
completely overlooked
This film is brilliant and the fact that it's not in the top best does surprise me. About Schmidt is one of those masterpieces that shock you with their simplicity and beauty. A biting story about life, about hope...and about irrevocable losses. And some gains. A movie you can watch whenever, wherever and always feel touched. You don't cry, sigh or laugh hysterically, you just think. And that's the best thing a movie can offer you. Jack Nicholson is Oscar worthy for this part and Kathy Bates is just deliciously funny when she's naked with him (and achieves not to make it just stupid and sexual). My favorite scene has to be his wedding speech. Oh and the argument with the daughter over the cheap casket. Brilliant, just brilliant. Bottom line: A movie you need to see.
The Notebook (2004)
a bit overrated, isn't it?
Whilst I found this movie nice and somewhat inspiring, I had to face it, it was nothing new or innovating. But I guess that wasn't the aim of the movie itself. It was meant to be a heart-warming romance drama and it was just that. The problem is that if you make this kind of movie where you have two parallel stories going on, you have to be able to make them blend. Now, I think here the direction didn't do such a splendid job, since I felt the stories were cut and didn't connect. Also, the acting was a bit wooden when it came to some characters. Rachel McAdams...is as usual a cute, interesting presence; nevertheless, in some scenes she tries to hard to act either like the victim or the American femme fatale and it doesn't work for her. Ryan Gosling however, really shows some acting props with this movie, because he basically keeps this movie going. I have to hand it to him; this is a chick flick but he turned it into a real adaptation. If it wasn't for him, this film would probably collapse at one point from the sappy pressure points. His cool demeanor mixed with a flaring angst really convinced me he was not only in love with her, but was also trying to treasure that love. The chemistry between the two is OK, not perfect, but it works for the early 20th century. I find it interesting that two completely different people get to have this kind of connection. The guy who wrote the actual book, Nicholas Sparks...OK, now this writer gets on my nerves sometimes because all his books are about these kind of things. Don't get me wrong, the man writes nicely, but overusing the same themes tends to put off some readers. Returning to the movie, I found the symbol of the notebook a nice touch and the tender relationship between the elderly couple really great. That was a lot more convincing than the youthful version of them. I'm giving it a seven because it did have a lot of potential, but that was lost sometimes in some unimportant scenes, or worse, skipped completely. People who love romantic movies and especially tear-jerkers should see this one since it will satisfy their expectations.
The Tracey Fragments (2007)
OK, but you're overreacting
Does anybody else think Tracey did NOT have such a tough life that she needed to be so tragic about it? I mean her family DID care, only couldn't exactly understand because she couldn't explain and the loss of her brother was HER fault whether she liked it or not.
This movie was pretty good, the idea of the fragments was quite original and not tedious at all, but the subject was...misleading. Tracey was acting overly emo in my opinion. Indeed, school bullying is hard, but that seemed to me the only real hardship. After all, she hadn't been kicked out of school or home, she wasn't an orphan, she wasn't handicapped, she wasn't made to live on the streets and sell her body and pot.
I admit, it seemed at times there was no hope, because she wanted it that way, because she thought the people she could turn to would not understand. But this isn't real life drama. She's not the only teenager and human being who is not understood. At times, she didn't even give the people around a chance, she was too disappointed and kept her illusions of her own utopia to herself.
Again, she's not the only person going through this and others have to face harder evils, worse situations. Another thing is that she was the one who encouraged and nurtured her growing obsession in her head. She created her own mental problems which did not seem so serious to me. She seemed histrionic and depressed, but other than that...
That guy Zero, who supposedly was her Prince Charming turned out to be a jerk and yet, it wasn't his fault entirely that he used her. Let's recall she got into a stranger's car voluntarily, since she obviously had a crush on him. This shows some irresponsibility. This led to losing her brother, again her own fault. What probably haunted her was a terrible guilt, but instead of running she should have faced the facts.
I guess in the end she does that since she is seen walking firmly with the shower curtain, but we don't know where she's going.
The fragments of Tracey were not something special. She was trying to be special, but she wasn't. The second part of the movie was better, what with the explanation of how she got the shower curtain on. Yet I felt it was just a chain of events and that it's really trying to be way too dramatic.
Why isn't she special? Well, she fell for a guy, her crush and agreed to him using her, she went through all that crisis of "no one understands", she wore the haircut of all rebellious emo girls, she remained silent and acted all crazy with her family, she walked the streets of her town like any depressed broken hearted woman.
The only thing different was her talking in a bus alone with the shower curtain and even that is a bit cliché.
However, I'll be fair, the movie has some pretty good parts, too bad they are a few.
This movie was pretty good, the idea of the fragments was quite original and not tedious at all, but the subject was...misleading. Tracey was acting overly emo in my opinion. Indeed, school bullying is hard, but that seemed to me the only real hardship. After all, she hadn't been kicked out of school or home, she wasn't an orphan, she wasn't handicapped, she wasn't made to live on the streets and sell her body and pot.
I admit, it seemed at times there was no hope, because she wanted it that way, because she thought the people she could turn to would not understand. But this isn't real life drama. She's not the only teenager and human being who is not understood. At times, she didn't even give the people around a chance, she was too disappointed and kept her illusions of her own utopia to herself.
Again, she's not the only person going through this and others have to face harder evils, worse situations. Another thing is that she was the one who encouraged and nurtured her growing obsession in her head. She created her own mental problems which did not seem so serious to me. She seemed histrionic and depressed, but other than that...
That guy Zero, who supposedly was her Prince Charming turned out to be a jerk and yet, it wasn't his fault entirely that he used her. Let's recall she got into a stranger's car voluntarily, since she obviously had a crush on him. This shows some irresponsibility. This led to losing her brother, again her own fault. What probably haunted her was a terrible guilt, but instead of running she should have faced the facts.
I guess in the end she does that since she is seen walking firmly with the shower curtain, but we don't know where she's going.
The fragments of Tracey were not something special. She was trying to be special, but she wasn't. The second part of the movie was better, what with the explanation of how she got the shower curtain on. Yet I felt it was just a chain of events and that it's really trying to be way too dramatic.
Why isn't she special? Well, she fell for a guy, her crush and agreed to him using her, she went through all that crisis of "no one understands", she wore the haircut of all rebellious emo girls, she remained silent and acted all crazy with her family, she walked the streets of her town like any depressed broken hearted woman.
The only thing different was her talking in a bus alone with the shower curtain and even that is a bit cliché.
However, I'll be fair, the movie has some pretty good parts, too bad they are a few.
Juno (2007)
striving to reach that indie climax
What is it with all these indie movies as of late? Hollywood finally considered the trilogy idea sucked big time, so now, as the 90s were the tear-jerker films years, they try to bring to us real "slices of life" through this emotional, plastic, incredibly witty story about pregnancy.
And that's what Juno is. An optimistic take at what seems to be quite a predicament, but hey, if you manage to squirm out that damn baby and kiss the father for having left you deal with it alone, you have achieved the quota of all indie films.
What bothers me here is that girls watching this movie might get the wrong idea, that pregnancy is perfectly fine and can be solved easily by just browsing for some control-freaks to purchase your unborn child and by letting out your jeans a bit so your huge belly would fit and you'd still look cute.
Juno had it so easy indeed! She felt no remorse, no shame, no anger, nothing. She only cried a bit in that saggy way when she realized her child wouldn't have a good home, after all. But frankly, who would give their kid to those people in the first place? And who could give their child so freely? Sure, if she had been some bimbo on the road that's fine. But she had friends and family, she seemed pretty smart.
Anyway, another disturbing thing is that she got back with that boyfriend of hers like nothing had ever happened. What is this? Safe sex for kids under 18? Sounds as if this movie was filmed some days before prom night and she had to lose the kid and look dashing until then.
Another thing was the soundtrack. OK, we get it, you're all rebellious artsy freaks with sarcastic gags that sound like Friends reruns. But why do you have to scream it in our face? Every little song in this movie begged for some attention and made the watch a bit tedious.
What I did like about this one was that they did away with annoying bratty high school stereotypes and I do not mean the real life stereotypes. I mean the Hollywood ones where the cheerleader is evil and sexy, the nerds all lust for naked chicks and the ONLY possible sport in the world is football.
Other than that, no matter how much I liked Juno's mum and dad, they seemed a tad unrealistic. I mean she told them she was pregnant two seconds ago and the mum is already giving her good nutrition tips.
All in all, it could have been better if it hadn't tried so hard to appear as something it was not.
And that's what Juno is. An optimistic take at what seems to be quite a predicament, but hey, if you manage to squirm out that damn baby and kiss the father for having left you deal with it alone, you have achieved the quota of all indie films.
What bothers me here is that girls watching this movie might get the wrong idea, that pregnancy is perfectly fine and can be solved easily by just browsing for some control-freaks to purchase your unborn child and by letting out your jeans a bit so your huge belly would fit and you'd still look cute.
Juno had it so easy indeed! She felt no remorse, no shame, no anger, nothing. She only cried a bit in that saggy way when she realized her child wouldn't have a good home, after all. But frankly, who would give their kid to those people in the first place? And who could give their child so freely? Sure, if she had been some bimbo on the road that's fine. But she had friends and family, she seemed pretty smart.
Anyway, another disturbing thing is that she got back with that boyfriend of hers like nothing had ever happened. What is this? Safe sex for kids under 18? Sounds as if this movie was filmed some days before prom night and she had to lose the kid and look dashing until then.
Another thing was the soundtrack. OK, we get it, you're all rebellious artsy freaks with sarcastic gags that sound like Friends reruns. But why do you have to scream it in our face? Every little song in this movie begged for some attention and made the watch a bit tedious.
What I did like about this one was that they did away with annoying bratty high school stereotypes and I do not mean the real life stereotypes. I mean the Hollywood ones where the cheerleader is evil and sexy, the nerds all lust for naked chicks and the ONLY possible sport in the world is football.
Other than that, no matter how much I liked Juno's mum and dad, they seemed a tad unrealistic. I mean she told them she was pregnant two seconds ago and the mum is already giving her good nutrition tips.
All in all, it could have been better if it hadn't tried so hard to appear as something it was not.