FLASHP01NT Reviews

Fever Pitch (1997)

Review: Fever Pitch (1997)

[7/10 · 22 August 2023]

One of the sweetest and most kind-hearted films I've ever seen. Fever Pitch (1997) isn't a tear-jerker; it's more sentimental and reflective. Fever Pitch isn't about football, it's about faith and community.

In flashbacks, we see how Paul's love of football, in childhood, changed his family dynamic by allowing his previously distant sister and mother to participate in his passion and share his enthusiasm. Football made the house a happier home. Paul's unwavering faith in his team (Arsenal F. C.) extends to every part of his life and directly effects the people around him.

As an adult, Paul teaches English and coaches football. All of his students like him. When Sarah is hired as a new math teacher they quickly become a couple, but Sarah's lack of faith in Paul spotlights the driving point of the film. There's no reason why Sarah should be so critical and unsupportive of Paul. The hinted motivation for Sarah's frustration with Paul is jealousy: It's clear Paul's popularity and status in the community intimidate her. Now, as a couple, Sarah must compete with football for Paul's attention and she tries to argue Paul into submission.

Sarah's disrespect and belittling of Paul's passion for football continues until it de-facto ends their relationship. Sarah then spends her days isolated, reconsidering her criticisms of Paul. Finally, when Sarah's students show appreciation for her by giving her a gift, they compare her mannered teaching style to the famous Arsenal football manager George Graham who "pushes hard but get's results". Touched and honored by this comparison, Sarah realizes she over-reacted with Paul and quickly runs back to him. It's obvious her decision to stay with Paul is the correct one. Everyone who is shown to share Paul's love of football has a fun and happy relationship with him. In the final shot of the film Paul and Sarah are seen walking home, enjoying each others company.

The camera-work in Fever Pitch is smooth, which helps to keep the scenes interesting. The whole film is a great snapshot of the 90's. The overall tone is spunky while maintaining a realistic and grassroots through-line. The casting is perfect, with all of the performances feeling true to life, even the kids. The dialogue, however, is the #1 standout: you can tell peoples arguments are pulled from real conversations. Fever Pitch is a pleasant watch for anyone who enjoys up-beat romance and/or comedy.

The Lucky Ones (2008)

Review: The Lucky Ones (2007)

[8/10 · 21 March 2023]

In my opinion, The Lucky Ones (2007) represents the best film in the (20+ year) career of Rachel McAdams and a top five in that of Michael Peña. It's one of the only films, besides The Notebook (2004), where Rachel McAdams is cast as a pivotal lead. It's also one of the only films where she's cast as an interesting and well written character (Colee). Peña's character (TK) is also written sharply and both actors talents are able to shine through the material. Together, with Tim Robbins (Cheaver), all three actors combine to deliver charming and memorable performances. There's only three main characters in The Lucky Ones, which is perfect, because you have plenty of time to get to know them and enjoy their contrasting points of view. All three protagonists are U. S. Army personnel returning from Iraq.

The Lucky Ones is an original film, even though 80% of it takes place in a van on the road. A road-trip isn't necessarily original but the premise is. The down-to-earth dialogue, shared with the intimate setting of a van, makes you feel like you're sitting right there. Most of the comedy comes from a flat, but innocent, dead-pan humor that never feels excessive or cheap. Drama sparks from motivations, and expectations, each person has about their personal lives and how they believe they're supposed to live and move forward. In the more serious scenes, everything everyone says is simple, direct and honest. The simplicity and bluntness of The Lucky Ones fits the films motif perfectly while also conveying a sense of both wit and sincerity.

The Lucky Ones isn't supposed to be a commentary on the Iraq war or the lives of army veterans. At first it appears to be a simple character dramedy: Watching three people, with similar backgrounds, who just met, under similar circumstances, go about their lives.

Then, around the half-way point, I noticed the film is really about the nature of family and recognizing other peoples needs. These three people, who just met each other, are more of a family than the families they think they have. Everything they strive for, every plan they make, is designed to facilitate the formation of a meaningful connection to someone else. What none of them seem to realize is that they've already formed that connection with each other.

It's not just the shared experience of military service that attracts the trio to each other, it's the type of people they are. The person who wants to serve. The person who wants to protect. The person who wants to help. A sense of duty doesn't come from the military, it extends *to* the military. Charles McMoran Wilson famously wrote "A man of character, in peace, becomes a man of courage, in war. Moral quality, which grows in peace, doesn't suddenly appear on the outbreak of war. War has no power to transform, it merely exaggerates what we already are". Colee, TK and Cheaver are good people, they just don't know or appreciate it about themselves. Society can sometimes teach us to mind our own business and keep our heads down, but that attitude makes these characters feel lost. They don't feel fulfilled on their own. They're not motivated by self-interest. They're only able to find solace as they begin to care for each other.

Maybe that's part of what being a good person is: A lack of self-concern. Naivety is the absence of self-understanding, especially in comparison to the motivations of others; but it can also represent the presence of trust and faith.

Now, back in the states, with nobody telling them what to do, each character is forced to find a new objective to fill a gap that was once filled by the Army. TK's preoccupation with success is out of a perceived need to protect his honor. Colee's preoccupation with returning her friends guitar is out of a perceived need to protect her integrity. Cheaver's preoccupation with his wife is out of a perceived need to protect his dignity. But these personal obsessions all originate from the one true need, which is to connect to, and thereby be important to, someone else. As soon as Colee, Cheaver and TK get to know each other, the plans they've formulated, and goals they've chosen, start to lose their importance. Suddenly they're all willing to confront the truth. When the real need is satisfied, there's no reason for the lies. TK realizes he doesn't need to be a success. Colee realizes she doesn't need to return the guitar. Cheaver realizes he doesn't need to be with his wife.

The trio were always friends, even before they met. That's why it's so easy for them to get along. It doesn't take any effort to do something that's natural. You don't have to force it. You don't have to struggle and strategize and manipulate. Boarding an airplane they automatically talk to each other. Landing at the airport they all start moving in the same direction. Pretty soon they're in the same car, and then they're in the same motel room. There's no thought about what to say or how to make friends or how to justify being in each others company: they're already friends, they're already together.

The Lucky Ones might seem confusing at first. There's plenty of jokes, but it isn't a comedy. There's plenty of drama but it isn't a drama. The tone is gentle and sympathetic. Movies like this aren't made anymore. The Lucky Ones is a kind and considerate film. It cares about the wellbeing of its characters and wants you to care too. There's small moments of depression, recollection, anxiety and sadness, but the movie doesn't want to weigh you down. The camera doesn't dwell on a tearful face or a disappointed look for too long. It only gives you a glimpse at someone's pain so you can understand who they really are and how you might behave in that situation. The movie wants you to have three new friends and be happy you have them; and, I'm pleased to say, for those two hours, I was.

The Notebook (2004)

Review: The Notebook (2004)

[8/10 · 26 January 2023]

If you look past the veneer, The Notebook really is one of the best romance films ever made. It does have negatives: The story is formulaic, the narration is atrocious, the dual storyline/non-linear format undermines most of the drama and all the scenes from the future drag down the pacing. However, when Ryan Gosling and Rachel McAdams are on screen, you can't help but pay attention.

What man wouldn't want to be so confident, kind and caring, that a beautiful woman (who looks just like Rachel McAdams) can't help but love you. Sign me up for that life, even with the adversity. The Notebook has all the clichés of a typical forbidden love romance, but with these actors you can forgive them. The performances of Gosling and McAdams transcend stereotypes and become an intimate window into a type of love maybe none of us have experienced, but we all know exists. Deep down, we all know true love exists, and that's the point of cinema. Film is a window into what it would be like to live a certain kind of life. The Notebook accomplishes this objective in an inspiring and fantastic way.

There's high's and low's for the story and dialogue, but it's the high's you remember. While on their first date, Noah tells Allie "Trust, you need to learn how to trust", and, after a considerate look, she takes a deep breath. The small exchange has a quiet profundity that slips by without attention. Some women need to learn how to trust a man, especially if they come from an emotionally cold or neglectful home. To trust someone is to expose yourself to the possibility of being hurt. Both characters have the courage to take that chance.

True love really is the most important thing in the world, but it seems to be rare and fragile. One could say, ignoring a love shared, between a man and a woman, represents the ultimate crime. In a tragic scene, Allie rebukes her harsh and disapproving mother crying "You don't look at daddy the way I look at Noah! You don't touch or laugh! You don't play! You don't know anything about love!". Those words hit hard because hollow relationships exist. If I choose the wrong path, I could regret it forever.

Two people can be made for each other, they just have to be in the right place at the right time. We've all met someone who just *got* us. For some reason, it just clicks. A sense of fate is one of the foundations of a real romance. Noah and Allie are on the same team. They're destined to cherish each other. One of the best aspects of The Notebook is how I found myself sympathizing with Noah and Allie equally. I liked them both, and it made me want to see them succeed and reconcile that much more. Noah is Allie's source of love, like a special fuel for a special engine. Nothing can change it. Nobody can replace it. It's a fact set in stone.

Noah doesn't have to go looking for Allie, he embraces the truth: If Allie is his soul-mate it means she'll have no choice but to come back; and she does. After reading a local newspaper, Allie learns that Noah has fulfilled his promise to her and built the house they had planned. It takes only a day for her to drive back. Reunited, Allie's new professional demeanor begins to fade. Desperate to shed feelings of rejection, she finally explodes, begging Noah to explain why he never wrote her. Noah says he wrote her everyday for a year. Shocked, Allie quickly abandons the common happiness of her ulterior life and re-commits herself to Noah.

In the end, Allie's mom capitulates and returns Noah's letters. Noah and Allie have a fight by the car, but it's not really a fight, it's a renewal of a will to defend a sacred bond. Commitments made in love can't be rescinded, they can only be buried. Allie leaves Noah to confront her responsibilities but the further away she drives the more her spirit seems to wilt. Suddenly she scrambles to read Noah's last letter as if to reaffirm the existence of a love she already knows. His summary of their hardship brings her to tears. Allie's fortitude is the perfect example of what a man values in the nature of a woman: A core of emotion, ridiculed by logic and expectation, functions, in its noble form, to protect an invisible good. Allie's devotion can't be diluted with promises of happiness, wealth or status, it can't be degraded by time or weakened by distance. She's a loyal woman, and with a woman that loyal a relationship can never fail.

Three Colors: Red (1994)

Review: Red (1994) - Interpretations

[8/10 · 6 January 2023]

Red is a thought experiment regarding the human understanding of free will and karma (i.e. Determinism vs indeterminism); and how pathological thinking can result in people being too hard on themselves. Red represents a clearer, more concise version of the themes presented in La double vie de Véronique (1991).

Analysis: After experiencing trauma, people often become psychologically fixated on the past and the future, in order to avoid further traumas. This obsession evolves into a negative pathology where a person's ego begins to justify immoral acts by judging others. For example: A person may think "I did nothing bad, but bad things happen to me", therefore "why should I do good, if I will not be rewarded with good", therefore "there's no difference between good and bad because good people are punished and bad people are rewarded". But this thinking is a logical fallacy. The fallacy is revealed when Valentine hits the dog.

Valentine introduces the value of the present. Valentine lives life in the present and has no ego to satiate through judgementalism and critique. Valentine simply moves through life responding to what's in front of her. Valentine doesn't think, she *acts*. This spotlights how, when people focus on the moment, and avoid premeditation, they usually do what is good and noble (even when they have a history of trauma or abuse).

Both the old and young Judge assume the meaning of life is a quest for success and achievement; This is why exposure to failure results in both Judges becoming jaded and withdrawing.

When old Judge tells Valentine about his wire-tapping setup, she doesn't judge him, she says she pity's him. Pity is not a judgement; it's a compassionate feeling of sympathy and sorrow for the suffering of others. After meeting Valentine, old judge realizes the truth and quickly admits to wire-tapping his neighbors. Valentines lack of judgement in the face of wrongdoing reveals the truth to the old Judge: You don't have to fix things that are bad, you just have to do things that are good. This epiphany releases the old Judge to live life in the present. His self-worth is no longer bound to events of the past or future. Just because he did something bad doesn't mean he's always bad. Life is simply a cascade of possibilities and choices and your perception of their individual importance is irrelevant.

Valentine helping the old woman put the bottle in the recycler is just as important as any other action she will ever make. Valentines decisions are determined by what she can do, not what she thinks she should do. If she can help the old lady put the bottle in the recycler, then she does it. If she can take the dog to the vet, then she does it. Rejecting pathological thinking results in pro-activity, which then, incentivizes positive action and good will.

Clueless (1995)

Review: Clueless (1995)

[7/10 · 23 December 2022]

Clueless is a positive up-beat movie anyone can enjoy. It has a talented lead with a great supporting cast, it has clever dialogue with quick editing and it has a classic (tale as old as time) moral message with an updated (90's pop) wrapper. Almost all the characters in Clueless are interesting, likeable and empathetic. Clueless represents a fun new-age comedy that utilizes its Beverly Hills backdrop perfectly.

The messaging in Clueless is slightly different from that of Jane Austen's Emma. Where Emma is about understanding someone's motives, Clueless is more about understanding someone's spirit. Clueless doesn't make fun of ignorant people; it celebrates them for what they do right. From this lens I was refreshed by the writers appreciation for peoples idiosyncrasies and the ability to view life through a glass half-full.

Fundamentally, someone's spirit is more important than their capabilities. You don't have to be smart to do good, you just have to be a good person. This is not to say the protagonist, Cher Horowitz, is stupid, because she's not. In fact, Cher (played sharply by a young Alicia Silverstone) is one of the sweetest and most intelligent female protagonists I've ever seen. This might have something to do with the staying power of the movie: People don't just want to see a beautiful body, they also want to see a beautiful soul. Of course, there's drama, but the story is about how the characters deal with problems and overcome them.

For example: Cher finds reasons do good things, but doesn't always go about them in the right way. When Cher and Tai have an argument, it alerts Cher to the fact her actions are causing the opposite of what she intended - and she immediately stops. Cher wasn't able to see the hints of her mistakes because she became fixated on her goals. After this rebuke, Cher reflects on what made her choose to do the things she did and how and why it caused the opposite of what she intended. Then Cher corrects her mistake and moves on. She doesn't make excuses. She doesn't blame anybody. She just corrects her mistake. Cher doesn't become jaded, angry or vengeful - she's just puzzled. After scrutiny, her inner-monologue muses "What makes someone a better person?".

When Tai stands up for herself it prompts Cher to become more self-actualized. Upon reflection, Cher is able to see things about people she previously couldn't. Cher is the same person, with the same goals, but her approach becomes more nuanced and gentle. She doesn't have an arc, she has a revelation. The confrontation with Tai also results in Cher embracing her feelings about Josh. In the end, Cher learns that honesty, with yourself and with others, is a valuable tool for cultivating a good life and respecting the boundaries of friends. Clueless conveys a simple message but it's an important one: We need more people like Cher.

I Heart Huckabees (2004)

Review: I Heart Huckabees (2004)

[7/10 · 17 December 2022]

You'll either love it or hate it: I Heart Huckabees (2004) has a special wavelength only certain people will enjoy. I can say this, I'm definitely one of these people. I really enjoyed this movie. Huckabees is difficult to describe in words: It's kind of a mashup between the forward-moving celebratory spirit of Wes Anderson and the flat dead-pan realism of Bill Murray. I Heart Huckabees can be compared to (or was possibly inspired by) the comedy of Mike Judge from Office Space (1999). Huckabees has the same tone. I'd say Huckabees is Office Space for millennials. Surprisingly, it also reminded me of the comedic style of Norm Macdonald (also something hard to describe).

Regarding the plot: In my opinion, I Heart Huckabees is about distracting yourself from events beyond your control by entertaining your mind with ideas and concepts you know, deep down, aren't practical (it could also be a commentary on rationalization, bias and jealousy). Albert Markovski isn't really having an existential crisis; he just *wants* to have one. Albert wants to have an existential crisis because he thinks he's the type of person that should be having one. This also explains why Albert plants pictures of himself in the photo archive. On the flip side, Brad Stand really is having an existential crisis, but doesn't realize it until he meets Albert's detectives. The results of Brad's corporate takeover would have been the same whether Brad embraced the truth or not. Brad is commercially opposed to the idea of an existential truth because, to be successful, he must lie to people. The truth works in opposition to his job description (VP of Public Affairs).

All the main characters know what they're saying is philosophical jargon, but they entertain it anyways. To provide yourself with the illusion of control can be more comforting than being subject to the whims of the world. Also, it's kind of cool and hip. Sometimes being grandiose and polarized is more interesting than being stoic. That's part of why Bernard and Vivian's detective business is so successful. Everyone wants their life to mean something. Everyone wants to be important. When Albert mentions his coincidence, Vivian immediately references a binder labeled "Coincidences". Coincidences are part of their business model.

About half way through I noticed Brad is really the heart of the film, not Albert. The way Brad is portrayed to delude himself is very realistic and plausible. All the scenes with Brad are quick and acrimonious. At the beginning of the film Brad has total control and dominance over everyone, and, by the end of the film, his career is destroyed, his house is destroyed, and his relationship is destroyed, but he embraces the truth. His life was a lie because he was a lie. The closer you are to being someone like Brad, the less funny the movie will be.

The Double Life of Véronique (1991)

Review: La double vie de Veronique (1991)

[8/10 · 1 September 2022]

Review: Right away, The Double Life of Veronique is very well shot; it's as close to painting on film as you can get. The photography appears twenty years ahead of its time. I can see where Kubrick got his inspiration for Eyes Wide Shut (1999) and where Sophia Coppola got her inspiration for Lost in Translation (2001). The quality of the production compels an automatic recommendation. It's clear Kieslowski and his DP, Slawomir Idziak, have a mature appreciation for natural beauty. The lighting is beautiful, the locations are beautiful, the sets are beautiful, the sounds are beautiful and the actresses are beautiful. Nothing filmed is ugly, gratuitous or cheap.

It seems Kieslowski is so interested in filming the intimate human condition he has no time for a traditional antagonist. He borders on insinuating that life, itself, is the villain. I know bad things can happen to good people. Weronika and Veronique both have a heart condition, but only Weronika dies. Did Weronika choose to sing even though she knew it would result in a heart attack? If there's life after death, does your soul function as your guardian angel while you're still alive?

This is where Kieslowski separates himself from other directors: He calls attention to realistic issues people have with life, especially when thinking about their own lives. It's the upside to eastern European filmmaking that western pragmatism rejects as proto-narcissistic. There can be positives in pathological thinking if the result is something objectively good and honest. I think Kieslowski is trying to say something good about nature and humanity. It's possible that Kieslowski is a pre-modern "epistemic realist", but, because he evolved under the web of the iron curtain, he only knows how to paint in a language of ethereal nihilism.

The problem with these Slavic writers and directors (e.g. Strugatskiy, Tarkovsky, Zulawski) is they try too hard to be artistic and diaphanous; They try too hard to be nuanced and somatic. They feel like they have no obligation to be relatable or dramatic. The medium of film demands a different approach to art. Relatability and drama is what gets the audience involved. Can I be allowed to participate? I want to care! I want to feel like I'm in the movie! No. I'm just supposed to watch. Ok....fine.

La double has serious story and pacing issues that undermine the poignancy of the film. Specifically: the relationships in La double feel trivial and flat. If the film had been written by Leos Carax, or Derek Cianfrance, I believe it would've been much better. I get it. Slav auteurs are used to living in the oppressive communist tundra where they've been told there's no God and that nothing really matters; and now, twenty years later, they suddenly realize they could've moved to France and pined for the affections of some lonely woman - like they always wanted. The unappealing side of Kieslowski is that he likes to imply the issues his characters face are universalisms. When I watch The Double Life, I don't feel like I'm learning about *the* human condition, I feel like I'm learning about *his* condition. The duality of man is now the duality of a woman? I guess? In some ways I think Kieslowski secretly wishes he was that young French Veronique; and, in some ways, I think he just *wants* her.

Generally, I found Veronique to be twice as interesting as Weronika; I liked her laissez-faire attitude and lack of ambition. It's implied that Weronika's death functions as a kind of wave-function collapse for Veronique's future. Veronique chooses to avoid singing because, subconsciously, she knows it will result in death. I guess certain life choices are empirically wrong. Instead of focusing on her career Veronique decides to focus on finding love. That's a message I can't disagree with.

Irene Jacob, of course, does a great job from start to finish. The most compelling scene occurs in a café, where Veronique finally converses with a man her own age. "Here we go!" I said, "Maybe they'll get into an argument, or, or something!". I found myself wishing the entire plot was just about Veronique and the title of the film was just "Veronique". More things of consequence could, and would, have happened - if the film wasn't trying so hard to push a metaphysical philosophy. If the movie is supposed to be an intellectual commentary on the mental prison of deterministic existentialism, and the burden of living with the knowledge of Schrödinger's cats, then the characters are going to have to do something about it. Challenging the meaning of reality is too complicated to do in allusion and metaphor alone. Audiences see references as only motifs, not some build up to an epiphanic revelation or hidden truth.

Films like The Double Life (and Three Colors) have no real arch. The characters are sometimes written to appear as if they've overcome something, but they really haven't. Everyone is sacrosanct. I think that's part of this whole artsy fartsy thing. Oooo they really didn't get over it. Oooo they're just choosing to continue their lives because..... the world is beautiful, and willpower, and....time...man. The innocent brooding bourgeois lost in modernity; ma moitié, ma raison d'être! I can see the Proustian allegory - "It comes so soon, the moment when there's nothing left to wait for". The Double Life is Kieslowski trying to be Claude Sautet, but without the charm and wit. Apparently you have to actually be French to write dialogue that good.

Boiled down, The Double Life is another story about a person trying to ignore how desperate they are for inspiration (some say love). In my opinion, the film is as desperate for inspiration as its protagonists. Watching La double, does however, lead to other, more interesting questions it may not have even meant to ask.

The Ninth Gate (1999)

Review: The Ninth Gate (1999)

[8/10 · 19 July 2022]

Clearly a polarizing film, The Ninth Gate is guaranteed to please neo-noir fans who enjoy slow methodical detective and mystery procedurals. Personally, The Ninth Gate is right up my alley: I especially appreciated the smooth modern direction from Roman Polanski combined with the classically minacious and purgatoric ambiance of Darius Khondji's art photography.

The Ninth Gate is an adaptation of Arturo Pérez-Reverte's 1993 novel "The Club Dumas", and it's obvious, based on the blunt and cynical dialogue. Polanski has dramatically improved the book, however, by maximizing the mystical and philosophical elements without being cliché or grandiose. Polanski's enhancements leave more to the imagination and continuously challenged my assumptions and interpretations of the plot.

The Ninth Gate is a perfect snapshot of Johnny Depp and Roman Polanski at peak performance. The supporting cast, including Emmanuelle Seigner and Frank Langella, also deliver unique and memorable performances. If you enjoyed David Fincher's "Girl with the Dragon Tattoo" (2011) or Christopher Nolan's "Insomnia" (2002), you'll enjoy The Ninth Gate.

What Maisie Knew (2012)

Review: What Maisie Knew (2012)

[7/10 · 20 November 2021]

Simply put, What Maisie Knew is a wholesome film that feels real, but not melodramatic. The entire cast is excellent. The director and cinematographer are skilled at depicting scenes of up-close intimacy and care. The pacing is solid and the story is relatable. As the film progressed I found myself sincerely hoping for those good people to prevail, succeed and find happiness. It's hard, now, to find movies that have any moral message whatsoever; and to find one that underlines the real effects of neglect and psychological abuse suffered, by children, in a way that's still entertaining, watchable and inspiring - is a bright accomplishment.

The Big Lebowski (1998)

Review: The Big Lebowski (1998) - Interpretations

[8/10 · 22 January 2021]

The movie represents a wisdom tale of original sin.

"The Dude" is an egoless carefree state that represents innocence, the Garden of Eden, Gods will and/or Gods order.

The Cowboy represents God. Lebowski represents man. The rug represents either A: women or B: materialism (I have not been able to deduce which one yet).

The movie begins when The Dude abandons his carefree state and begins to seek the rug. At the point The Dude begins to seek the rug he is rejecting Gods order, and thus, becomes Lebowski. Lebowski is cast out of Eden, by God, into the Land of Nod, where he wanders encountering lies, violence, treachery and deceit.

At the end, Lebowski has learned his lesson and regains Gods favor. He says, directly to God, "The Dude abides" and God repeats it to the audience.

Welcome to the Rileys (2010)

Review: Welcome to the Rileys (2010)

[7/10 · 21 December 2020]

A very realistic film compared to similar character dramas: Welcome to the Rileys features excellent casting, writing and direction. Welcome to the Rileys is a movie about what love really is: not sex and emotion, but the absence of anger, having absolute patience and leading women in the right way to be.

For example: The protagonist is not written as a perfect man, but its clear the writer knows what a perfect man is, and, that it's achievable.

The cinematography felt very raw almost like a faux documentary. The film will appeal most to adults who appreciate nuance and subtlety.

Garden State (2004)

Review: Garden State (2004) - Interpretations

[8/10 · 6 November 2020]

I don't know why Red Letter Media doesn't like Garden State.

Somehow Garden State picked up this connotation of being a cliche hipster movie, but I didn't get that sense at all.

IMO: Garden State felt like well paced rom-com with heavier dramatic elements mixed in (similar to The Waitress 2007). I thought it was a very sharp film with good pacing, good direction and modern cinematography.

The attitude and message of the film felt like an expression of the experience of having cognitive dissonance between 1. Feelings of childhood lament and attempting to escape traumas of the past, and 2. Nostalgia for the simplicity of being a child, being without responsibility, without ego, and thus, without sin (e.g. "garden state" for being in the "garden of eden").

For Example: The Natalie Portman character is virginal and completely innocent while Braff's character is also innocent and child-like, but has been abused and traumatized by life. Both characters have incomplete family units. Both characters have a medical condition that involves their head. Portman's character has no father and Braff's character has no mother. This is clearly a representation of the two psychological states Braff embodies: Braff and Portman are co-dependent - Portman represents the assertive, healthy, instinctual side of Braff's psychology that he's attempting to rectify with his pathologically abused side that forces him to feel responsible for everything.

American Psycho (2000)

American Psycho - Explanation - Spoilers

[8/10 · 3 October 2020]

There are two main interpretations of the film:

1. That Bateman is actually a psychological construct of Davis; The main character of the film is Davis. We are in the mind of Davis as he dreams about being Bateman.

2. That Bateman is actually Bateman, and he does really kill people, but it's impossible for the police to pin the murders on him because nobody in corporate america knows each other, causing false negatives that interrupt the continuity of the criminal investigation.

If you believe #1: The movie is a psychological reactionism to the monotony and inhumanity of corporate life; fantasizing about murder functions as an escape mechanism and helps Davis maintain his sanity.

If you believe #2: Bateman is a sociopathic serial killer who is successful in business because of his negative pathologies. Bateman feels nothing and thought that murdering people would help him to feel something, but it didn't. In the end Bateman wants to be caught and punished; because then he would be put out of his misery. However Bateman can't be caught due to the nature of his employment, which makes him both invisible and void of responsibility. Bateman is now cursed to continue his miserable existence, which, to him, is the same as being in prison.

A third interpretation exists which is similar to the second: In this case, Bateman, again, really does kill people; but everyone around him helps him to conceal the crimes out of self-interest. So, at the end of the film, the real estate agent actually cleaned up the apartment and got rid of the bodies; and Bateman's lawyer knows he killed Paul Allen, but intentionally lied to the police about having lunch with Allen in London in order to protect Bateman, who is a VP of P&P (previously said to be a company for which Bateman's father "practically owns").

No Country for Old Men (2007)

No Country For Old Men - Explanation - Spoilers

[8/10 · 9 September 2020]

The meaning of Sheriff Bell's dream was that he was ashamed of himself because his fear of death prevented him from doing his duty. In other words: Ed knew the criminal was in the motel room, but his fear of death prevented him from doing his job, which, in this case, was to die honorably in the line of duty.

He interprets this moral failure as a desecration of the legacy of his father.

This is contrast with the moral failure of Anton: Anton killed the woman who refused to play his coin game, which forced him to assume the moral responsibility for murdering her. This incident is immediately followed with Anton's car accident, which represents him being punished by God and forced to rely on the charity of others for survival. This is why Anton demands the kid take the money in exchange for the shirt - because he recognizes that he's being punished (i.e. he recognizes the charitable symbol and that he doesn't deserve charity) which is an indirect admission of guilt.

Star Wars: Episode V - The Empire Strikes Back (1980)

Leigh Brackett is what made this movie good, not Lawrence Kasdan.

[8/10 · 23 July 2020]

I think the real reason The Empire Strikes Back is such a good film is because it was written by Leigh Brackett, not Lawrence Kasdan. I believe all the major story ideas and plot points of Empire came from Brackett's draft and were later adapted, by Kasdan, into the final screenplay. Had Brackett survived and continued working on Empire, it probably would have been even better.

My first suspicion that Kasdan was a hack writer came many years ago after I, like everyone else, heard he had written Empire. I immediately checked Kasdan's filmography to see if there were any other notable films I had not yet seen. Unfortunately, the only other poignant movie written by Kasdan was Indiana Jones: Raiders Of The Lost Ark (for which George Lucas wrote the story). Kasdan also wrote the screenplay for ROTJ, and I personally think that ROTJ is both a cheap and poorly written film. ROTJ was my first clue that Kasdan may not have been responsible for the success and quality of Empire.

Upon further research into the writing of Empire I eventually found Brackett's name buried in an article somewhere: Researching Brackett I noticed she had co-written the screenplay for "The Big Sleep" (1946) with Humphrey Bogart and Lauren Bacall. I remember watching all the major Bogart films in college and now, upon comparison to Empire, I see major similarities - especially in the romance and drama genres. This is also a big clue.

Kasdan was able to skate by for many years without writing anything, allowing him to soak up the admiration for Empire without providing any body of work for comparison (besides ROTJ). Now that Kasdan's name has been plastered all over the media for the Disney Star Wars remakes we can now see that Kasdan has no real writing talent.

I am happy to say that I know Lawrence Kasdan is not a good writer.

Crouching Tiger, Hidden Dragon (2000)

Crouching Tiger, Hidden Dragon (2000) - Interpretations

[8/10 · 1 February 2019]

A film that captures the spirit of young women perfectly, Crouching Tiger, Hidden Dragon represents a psychological war between egotistical grandiosity, true love and common sense. The most notable moral is that of virtue: Honor, integrity, loyalty - why does society hold sacred principles of character? Crouching Tiger, Hidden Dragon is a crippling postmortem on the consequences of delusional narcissism, the expectation of unearned respect and the complete avoidance of personal responsibility; As far as audiences are concerned, it may function as a poignant "period drama" case study on why people value peace, civility and honesty. Note: Li Mu Bai's green destiny sword represents love's strength and endurance, while Jen's hair comb represents love's fragility.

The Pianist (2002)

The Pianist (2002)

[8/10 · 31 January 2019]

Succinct and too the point: The Pianist (2002), staring Adrien Brody, as the real life Wladyslaw Szpilman (a Jewish radio station pianist), spotlights the brutal efficiency of WWII state-sponsored genocide in Nazi occupied Poland (1939-1945).

Roman Polansky's direction still feels smooth and fresh, even in 2002. Polansky has embraced the neo-noir style more than any other modern director and it's poignancy has resulted in the pinnacle film of his career. Polansky also relies on the actors to instruct the audience as to what is important and why. Brody's face carries the audience through the war, and, by the end of the film, you feel like you've been liberated too.

Saving Private Ryan (1998)

Saving Private Ryan (1998)

[8/10 · 28 January 2019]

Saving Private Ryan (1998), starring Tom Hanks and Jeremy Davies, represents an impeccable display of 90's practical effects and cinematography. While the plot sometimes borders on cliche, WWII realism is buoyed by dramatic performances from a talented supporting cast (including Tom Sizemore and Giovanni Ribisi). The film depicts a surprisingly accurate recreation of Nazi occupied France - during the initial phase of Operation Overlord (1944). A particularly moving shot features heavy rain drops on the leaves of Normandy hedgerows - your ears first interpret gunfire. Sharp direction by Steven Spielberg mirrors real life war reporting adding a level of grit and documentary terror not seen before or since. The first 30 minutes of Saving Private Ryan cannot be forgotten and may function as a tool to familiarize future generations on the scenarios of endless brutality generated by an environment of total war.