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9/10
Surprisingly Awesome
3 June 2012
Warning: Spoilers
I HATE Nicholas Cage. I hate the man. I hate his acting. I hate that he plays the same neurotic caricature of a man in every film he's been in. But I love this movie.

Quite simply put it's comedy gold. If anyone had told me the plot before I watched this movie I would have shunned it as being too low-brow for my tastes. But who would have thought a movie about incompetent rednecks kidnapping a baby could be so hilarious? Certainly not I.

It was funny, unassuming, outrageous, and even moving. Any Big Lebowski fan can appreciate a movie like this. And anyone who is turned off by the plot or cast, please reconsider. You wouldn't want to miss this.
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6/10
A sad film...
2 June 2012
Warning: Spoilers
Before Jersey Shore and the Kardashians there was Holly Golightly. A stunningly played roll on the part of Audrey Hepburn, that sings to the depths of misery while surrounding itself with decadence. When Holly feels sad, or angry, or melancholy she goes to Tiffany's and when movie-goers want to escape the drudgery and complacency of life they pop in Breakfast at Tiffany's.

It is band-aid of a film about the band-aids that people use to cover their wounds. Holly and Paul stumble through life using parties, shopping, sex, money, judgement, and prejudice to escape the tragedy of their own unhappiness. They desperately try to escape one another while feeling inexplicably drawn to one another, for each sees themselves in the other.

The characters are truly complex and brilliant, but the lightheartedness of the film tempts the audience to gloss over their short-comings and humanity until we fall in love with them just as they have fallen in love with themselves. We ignore their tragedy and hail them as whimsical and classic and we build our society around their debauchery and escapism.

If one looks past the glamor the characters become reminiscent of Fitzgerald. But a typical Hollywood ending scrapes away the depth and leaves us with an empty blue box.
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Eraserhead (1977)
5/10
A man's personal journey into fatherhood
30 May 2012
Warning: Spoilers
The only honest rating one can give a movie like this is a five. It is filled with striking and disturbing imagery, it is slow-moving, and its score is minimalist. For these reasons you will either love it or hate it. It's a movie that doesn't fit into any other genres or rating systems. It is psychological to its core and symbolic in its blood.

Many things have been said about Eraserhead, but it is a monster of a different breed and to truly begin to develop an opinion on the film, one must attempt to understand it.

I'm going to start out by saying that Eraserhead is not as complicated as people make it out to be. Eraserhead is the autobiographical account of the anxiety experienced by a young man who is struggling with his new life as a a father and provider in a relationship which has taken an unexpected turn. Everything about the film is exaggerated and reeks of fear and dissatisfaction. From the start we feel pulled along by the man in the planet as he pulls Henry's life force out of him (seen as a sperm-like worm). Henry feels a terrifying lack of control as we can clearly see, which only magnifies his sense of isolation at the absence of his lover Mary.

We sense Henry's growing anxiety as he meets Mary's family. What once a pleasant clandestine liaison between he and Mary has been interrupted by her insistence on meeting the family. Henry senses something is amiss and his feelings grow more intense as he is exposed to the family's eccentricities. He asked by Mary's father to carve the chicken, a duty reserved typically for the patriarch of a family, and hallucinates a menstruating chicken, a manifestation of his suspicion, which is confirmed in the following scene: Mary is pregnant.

Soon it is not simply Mary's family that is encroaching on his personal space, but also Mary herself and their newborn child. We sense that Mary and Henry have become far more distant, but also that Henry feels no personal connection to his unplanned child. The child remains a worm-like fetal abomination. Despite its infant-like qualities, Henry sees it as nothing more than a personified sperm and does his best to repress the remainder of his own worm-like sperm.

He fantasizes constantly about life beyond his tiny apartment. He is plagued by the thought of sexual responsibility and through the voices in the radiator he imagines a paradise where his sexual actions have no consequences. It may not be perfect, but to him it means freedom. A world where women swallow.

Mary, meanwhile feels overwhelmed at Henry's lack of interest in anything but sex and her new motherly responsibilities. She leaves him in a fit of rage, yet we can see her desperately wishing for Henry to reach out for her as she prolongs her goodbye. Henry is left to care his child, which he feels grossly unprepared for. As the child grows ill he again looks for a way out of his predicament.

This way comes in the form of the attractive neighbor, whom Henry uses to escape his responsibilities. He dreams of abandoning his child for a life of freedom, but he knows that inside he was once a child too and imagines what kind of a person he would have been had his father ran out on him. He sees himself as a sperm-like child with an inability to care for himself, just as his child requires his care.

This is the first time Henry feels a real connection with his child. He realizes that in order to keep his child healthy and safe he has sacrifice himself and his desires. This culminates in an elaborate scene where Henry hallucinates his own head falling off and bleeding, while a young boy takes it a factory where it is turned into erasers. The eraser dust of his dreams and desires is blown away by the hand of the factory owner. An elaborate illustration of the plight faced by breadwinner who works to feed his family.

Next, Henry is faced with a hard task. He has to let go of his fear of fatherhood and embrace his responsibilities. In this final scene Henry destroys his preconceived notions about his child, through a symbolic murder of the worm-like creature. He realizes that only he has control of his actions and through his conquering of his fears destroys the man in the planet. Having accepted his responsibilities and conquered his fears he moves into the light of existentialism.

It's a story about sacrifice, fear, responsibility, and single-parenthood. It may or may not be your cup of tea, but it does a remarkable job of expressing the anxiety that a new parent feels.
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Martyrs (2008)
4/10
Lacking in coherent structure
27 May 2012
Warning: Spoilers
IMDb was right to put this in the same category as High Tension. Like its counterpart it relied heavily on atmosphere and cinematography and misses the mark on the follow through. This movie viewed as though it had three separate directors. The first part of the movie is suspenseful and action-packed, following Lucie through the blood-spattered execution of her torturers. It is intense and compelling as Lucie faces the demons of her past while dragging her unsuspecting friend Anna (and the audience) along for the ride.

Then the movie tapers off. Lucie, unable to cope with her trauma commits a brutal suicide and Anna becomes the focus of the film as she tries discover the secrets of Lucie's past. It is a rocky switch of pace, and after the shocking first half hour Anna fumbling seems to drag on. Even her inevitable capture and subsequent torture seems feebly dull.

The last part of the movie centers on the concept of martyrdom and Anna's martyrdom. From here we see yet another directorial change as the film seems to be stumbling blindly for something poignant. It leaves the audience grasping at straws while trying to make them believe they've seen a philosophical masterpiece.

If the film had been consistent in following the trail left by the first part it could very easily have been a great movie. Lucie's story was compelling and intense. The film hinted at other horror mediums such as ghosts, demons, and (my personal favorite) the psychological thriller. But in the end it was nothing but a common torture porn.
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Orphan (2009)
Furhman shines
1 April 2012
Warning: Spoilers
When I saw trailers for this movie I thought "Great! Orphans have it bad enough without another film like this showing up." I was all ready to condemn this movie and its leftover plot-devices.

And leftover as the plot may be (let's face it, movies about evil orphans are kind of overdone) I was genuinely surprised. Not with the movie itself, but with young actress Isabelle Furhman. Just twelve years-old in this film, Furhman's acting towers over her supporting cast. In every aspect of the movie she is completely believable. I would have adopted her! I pitied her as her classmates made fun of her. Even though I had just seen her kill a nun I was sympathizing with the father of the story, wanting so bad for her to be innocent. And yes, even at the end I wondered if maybe they had actually cast a 30-something woman with a weird hormone disorder. I absolutely fell in love with this little actress. And I would love to see more of her.

I could take or leave the movie. But if you take the movie, don't leave without Isabelle Furhman.
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Undocumented (2010)
4/10
Relies too much on initial premise.
1 April 2012
The idea behind undocumented is truly terrifying. It would not surprise me to find that something similar to this goes on near the US border. However, as a film it is just a run-of-the-mill average torture-porn.

This film won't win any awards for creativity, writing, or acting. But for those who just want to watch a gory flick that appeals to your sense of empathy it does deliver. The gore is believable and there are plenty of gut-wrenching emotional scenes.

This isn't a thinking film. You won't come out of it scratching your head, ready to discuss its deeper implications. But it has more heart than your average slasher film.

Avid horror fans will not be impressed, but it's not a bad flick for the average film-going Joe.
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Twilight (I) (2008)
4/10
Greasy, Over-Used Plot with Undernourished Characters
25 March 2012
Warning: Spoilers
I wanted to not hate this film. I was able to overlook the film's nontraditional take on vampires, the cliché love story, and the curious fact that Edward, a vampire hundreds of years old, can find common ground with a seventeen year-old girl. But the character development lacked more life than the vampires themselves. I have seen Pattinson and Stewart in other films before, and while they may not be the great actors of our time, I certainly think they deserved better than the dry, shriveled up husks of characters that I saw in the film.

Stewart plays Bella, a brooding teen who is escaping her mom's remarriage by moving in with her biological father and (apparently) deciding never to smile again. She meets lots of very friendly people, who are genuinely nice, though a little immature, and then proceeds to blow them off throughout the movie in order to get close to a vampire named Edward (played by Pattinson) who doesn't seem to want to have anything to do with her, but doesn't mind stalking her from afar.

Bella is rude, self-centered, and withdrawn, but despite these qualities (or perhaps because of them, as Edward is equally rude and stand-offish) Edward can't seem to keep away from Bella. He eventually reveals himself as a vampire, and they begin to date.

The Characters had no true chemistry. The attraction Edward and Bella displayed for one another seemed to be nothing more than pheromone-based. Edward lusts for Bella's blood, while Bella is drawn by Edward's irresistible vampire qualities. They possessed no commonalities. They exhibited no depth in their interactions. As a love-story it was asthmatic.

The only metaphorical rays of sunshine in the film were the atmosphere of the rainy and dreary town of Forks (which fit the mood quite aptly), and the character of Alice who added life to a superficial dive of a movie.
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