shubee32 Reviews

The Opposite of Sex (1998)

Happy Beginnings from the director of "Happy Endings."

[8/10 · 16 July 2005]

"The Opposite of Sex," if viewed as a drama, may indeed be 'overwrought and curiously weightless,' (as one Boston movie critic, Wesley Morris, labeled it); however, if it is perceived as an innovative comedy with some profound dramatic moments and some astonishing, revelatory unprecedented performances (especially Lisa Kudrow, as the sexually wound-tight-as-a-coil Lucia), I believe the film may be considered one of the better offbeat indies of the late 90's.

The dialogue in "The Opposite of Sex," is crisp and rife with witty barbs and insights into repression, relationships and sex. The movie also depicts Christina Ricci at her least annoying, which is a miraculous feat in itself; Lyle Lovett's flat yet deadpan delivery of Sheriff Carl's lines bring a novel type of levity and naïve sincerity uncharacteristic of such a peripheral role. For example, consider this piece of dialogue:

"Say the point of sex isn't recreation or procreation or any of that stuff. Say it's concentration. Say it's supposed to focus your attention on the person you're sleeping with, like biological highlighter. Otherwise, there's just too many people in the world." These lines, in my opinion, deliver an imaginative viewpoint on the benefits of intimate monogamy.

And what about Martin Donovan? Does he purposefully will himself into Hollywood obscurity? I have been following his understated and quite honest performances since his appearances in Hal Hartley's early work (for his true comic appeal, watch "Simple Men"); how he manages to fly under the radar of prominent screenwriters and directors still eludes me. Nonetheless, Donovan's Bill Truitt undergoes a subtle transformation from 'Victim of Love,' to a man cognizant of how grief over a dead lover (Lucia's brother), has manifested itself in both refusal to acknowledge his current relationship's failure and an inability to walk through his own sorrow.

Ivan Sergei and Johnny Galecki manage to turn in witty portrayals of youthful folly and provide some of the film's most truly droll moments. Kudrow's portrayal of Lucia's unraveling (in addition to some deeply sardonic moments), provide a prophetic glimpse into her current role as Valerie Cherish in HBO's "The Comeback. Moreover, Lucia's embracing of her sexuality as a way of gaining ownership of her life after her brother's death is simultaneously heartbreaking and heartwarming. Kudos to Kudrow!

I have seen "The Opposite of Sex," about four times now, and discover something new upon each viewing; I look forward to Roos' "Happy Endings" (2005) for further adventurous, humane storytelling.

Secretary (2002)

Deliciously atypical cinematic fare!!

[20 April 2003]

Please indulge me while I gushingly discuss this little gem of a movie I saw last night, called Secretary. Yes, I know it was released a while ago, but since my wallet has been bereft of its pecuniary innards of late, I had to wait for the rental.

Is Secretary as creepy a psychosexual office thriller as its trailer might lead us to believe? Yes and no. Chances are, however, if the director has cast James Spader as the male lead, the viewer knows they're in for an unnerving cinematic journey. That said, there is a strong psychosexual current running through this story, but it's far from creepy; if you're occasionally inclined to use film as a means of accessing your emotions and promoting self-awareness, this might be the movie for you.

The story is that tried-but-true formula: self-mutilating girl gets out of a mental institution, returns to her dysfunctional family life, gets a job as a secretary for an anal-retentive, emotionally repressed attorney, and finds redemption and herself in the context of a sado-masochistic relationship. Yawn. How banal! This is a stunning, existential coming-of-age black comedy, and, along with Happy Accidents, one of the best unorthodox love stories I've seen this year.

Relative newcomer Maggie Gylenhaal plays Lee Holloway, our emotionally unstable protagonist. Her performance is revealing and revelatory, a brave portrayal of inner turmoil played with grace and complexity. The aforementioned Spader plays Lee's equally disturbed employer, E. Edward Gray, delivering yet another of his trademark plagued-by-inner-demons characters. I am consistently astounded by Spader's ability to infuse potentially deplorable characters with such intricate humanity that he is able to elicit sympathy and understanding. James Spader is one of our best under-utilized character actors, and thankfully has never allowed himself to be co-opted by the Hollywood mainstream. Cheers, James.

The sado-masochistic element of this film could have easily drifted into self-parody; instead, director Steven Shainberg uses it subtly and without shame as a means of exhibiting deliverance and liberation. In some ways, this film is also a meditation on power and sex roles. Lee's initial willingness to acquiesce to her boss' punitive ministerings could have easily made her a victim, i.e. of an employer, a man and an elder. Instead, this is her gateway into adulthood, allowing her to develop the inner resources to be a self-determined woman relentless in the pursuit of what and whom she wants.

Anyone involved in a long-term relationship knows that an essential ingredient is variable power balance; it's inevitable, despite some people's claims that they have a completely `equal' affiliation. These power shifts help keep romance vibrant, and equally as important, instruct us how to navigate life's rocky travails, resulting in wisdom and self-acceptance. What men often think as strength--stoicism, aloofness, obstinacy--are, more often than not, actually weaknesses, leading to ignorance, avoidance and ultimate demise. Paradoxically, it's in complete vulnerability where we actually discover what we're capable of, being able to develop emotional resilience and learning to express desire, sexual or otherwise. Gylenhaal's Lee Holloway crystallizes this vulnerability-as-strength concept beautifully, making an appealing case for growth by any means necessary. Shame is often self-imposed, and convention can serve as prison. Ultimately, each of us must choose our own path to self-actualization, and it's legitimate if it works for you.

Conversely, Spader's growth stems from actually succumbing to Lee's powerful will. His apparent `dominance,' in the end leads to his submission to her insistence that they be together. Ultimately, both benefit from the relationship, as an audience can benefit from viewing this unusual, luminous film.

9/10

The Education of Max Bickford (2001–2002)

TV Execs SUCK!

[9 April 2002]

Apparently, the creators of "The Education of Max Bickford," have LEFT the show, because the honchos at CBS want to make Max more "sympathetic."

Why does corrupt corporate marketing constantly encroach upon quality television? One of the things that makes "Bickford" such a delight is its departure from one-dimensional characters and caricatured portrayals which are so endemic to network programming. Yes, Max is hypocritical, contradictory, enervating and downright offensive. And yet, amidst all his spiritual blemishes, Max's good intentions, deep respect for his colleagues and love for his family shine through. As opposed to the black-and-white world of the cop-medical legal dramas that pervade our airwaves these days, the main character's complexity enhances his humanity, rather than diminishes it. Sound like someone you know? Look around...there's more than just a little bit of Max Bickford in each of us.

Perhaps the lower ratings are due to the uniquely American need for blinding escapism, albeit at the cost of introspection. God forbid network television should be an instrument of self-reflection. No, they need those ratings, those delicious and oh-so-informative demographics, which translate into advertising revenue and profit. Where is our profit as the intelligent, discriminating TV viewer, huh? HUH?

Titus (2000–2002)

Novel idea

[31 January 2001]

My friends think I am crazy, but I love "Titus." What began as a seemingly half-hour therapy session for its star, Christopher Titus, has developed into a solid 30 minute blend of near-slapstick humor, intelligent writing and light introspection.

The cast of "Titus," once somewhat disjointed and contrived (as is the case with many freshman shows), has coalesced into a tight comedic ensemble who riff off each other easily, and help the storylines move along at a refreshing clip.

A major strength of the show, (the only one, my friends contend), is Stacy Keach's role as Ken Titus, Christopher's father. He takes an abusive, callous father, and almost impossibly makes him hilarious. After all, if you remove the humorous context, child abuse is no laughing matter.

And yet, it is Christopher's approach to his past that allows us to laugh with him. While I never saw his one-man show, "Norman Rockwell is Bleeding," I can only assume he conveyed a similar take on his family in that setting as well. This TV show could have easily been rendered as a "Pity Me, I Am So Screwed Up Because Of My Dysfunctional Past" scenario. Instead, Titus' skewed perspective provides enough levity so we may understand how absurd the perverted communication process with those who have hurt us deepest can be, without completely breaking our hearts. It is a testament to everyone involved in the show, that Titus' vision is pulled off with such aplomb.

The supporting cast shines as they reflect what is going on in Titus' subconscious, conveyed cleverly by black & white sequences in a room with only a chair and light bulb, where Christopher frenetically interprets how his past has affected his present. Think of it as Freud on Ephedra, and you'll do just fine.

Cynthia Watros's 'Erin' gets my vote for best character development. Her loving, accepting yet equally madcap persona has flourished into a fully realized partner-in-crime for Christopher, when she could have remained a one-dimensional support figure.

Zack Ward as Titus' slow-witted adopted brother Dave is the 'Chrissy Snow' of the show, as he often, unwittingly foils Chris's attempts at revenge or reconciliation with their father.

My only complaint is Shatraw's character, who is supposed to be Titus's best friend, hardly gets any exploration or airtime. Hopefully, the show will be on for a while, so the effeminate and riotous Tommy can be more developed.

If you're looking for a half hour of audacious comedy, the likes of which you have never seen on network TV, check out "Titus." Considering most good shows get shelved within a year if they don't get the ratings, you might only have a little time left!

Love & Basketball (2000)

Understated Romance

[5 December 2000]

Initially renting this movie, I thought I would be in store for something along the lines of "Love Jones," a solid film in its own right, but hardly a masterpiece. I was pleasantly surprised to have my expectations gradually peeled away and become engrossed in a beautifully nuanced love story.

The story starts out conventionally enough, when two 11-year olds become neighbors; the girl is Monica, a reticent tomboy who loves playing basketball with the guys. The boy is Quincy, or "Q" who, you guessed it--loves playing basketball--but whose motivation for exceeding at the game becomes questionable later in the story.

Basically, we follow these two characters longitudinally through the movie, discovering how their lives intersect and how their mutual expectations are sometimes fulfilled, sometimes not. This may sound vague, but synopses are not always necessary for critique; one of the pleasures of good cinema is the novelty of it, the ability to be surprised. That said, this is not a plot-driven movie; there are no shocking twists or turns. Rather, it is a powerful character study interlaced with a gentle romance.

Most of the power comes from one of cinema's shining neophytes, Sanaa Lathan. I was mesmerized as I watched a seemingly one-dimensional characterization unfold into a multi-layered, complex portrayal of a sensitive yet driven woman. Vulnerable but not a victim, motivated and assertive yet not overbearing, I didn't even realize the blossoming I was privy to until well after the film had ended--this is how subtly engaging Lathan's performance is. Monica IS the emotional core of this film; moreover, economy in acting seems sparse these days--it is far easier for a performer to get their message across by over-emoting and flashy theatrics, than to convey feeling through facial expressions, body language and other 'unspoken' variables.

So, in the aforementioned sense, "Love and Basketball" is Lathan's movie. Monica's chemistry with Omar Epps' Q is palpable, and Epps himself delivers an adept portrayal of a young man in conflict with his family, his sport and himself. I would like to have seen a more detailed account of Q's familial and emotional life, yet then it may have detracted from Sanaa Lathan's fleshy, sentient fulfillment of her craft.

Of course the film would not have materialized if it wasn't for Gina Prince-Blythewood's perceptive script and unflinchingly honest direction. I look forward to ALL the principal players' future work.

See it

Jesus' Son (1999)

Lyrical

[28 September 2000]

This movie was quite well-done. It's not often I find films poetic, but in this case, I found Jesus' Son to be quite lyrical. It's not necessarily a cautionary tale, it doesn't spit any messages in your face. It's merely a depiction of a certain period in someone's life, a picture so beautifully and non-judgmentally rendered, it reminded me of well-written poetry in texture and feeling. The pacing was slow, but not belabored. More American films should be like this. It's been said before, but the States could stand to take a lesson from European cinema.

Crudup's character, F$@#head, is multi-layered, avoiding being pigeonholed as just a junkie, or an over-sensitive individual, or a young man just down on his luck. We feel bad for him, but we don't pity him; he's slow-witted, but smart enough to pull himself out of the trenches of self-abuse when maturity calls upon him to do so. He's an everyman, albeit with a golden heart, guilty of nothing more than some bad choices in tough circumstances. Who can't identify with that? I've been trailing his career since I first saw him in 'Inventing the Abbotts,' and while he hasn't produced a body of work comparable to other character actors I so admire, I look forward to seeing his career ascend.

Ditto Samantha Morton. I loved her performance in 'Sweet and Lowdown,' thought it was quite affecting, and her role here, as Michelle, is no less astonishing in its emotional complexity; she's got a big but fragile heart, finally collapsing under the weight of her bond to F#$@head. My sense is that her career will resemble Emily Watson's, both in diversity of characters and, if there's any justice, longevity.

If you're looking for a stylistic, gracefully acted drama about self-renewal, this one's for you.