Letters to Juliet (2010)

3/5

Letters to Juliet is the prototypical romantic comedy, from the awkward meet-cute to the conflict between two loves to the cheesy finale. And quite frankly, the formula works. It was a light, enjoyable flick with charismatic characters and playful hearstring-tugging. The story follows Sophie (Seyfried) with her fiancé Victor (García Bernal) in Verona on a pre-wedding honeymoon in preparation for the opening of his new restaurant. Instead of spending time with Sophie, Victor ends up trying all the foods and wines from Italy on his own, while she begins to get involved with the "secretaries of Juliet." Strangers write letters to Juliet and attach them to a wall, and the secretaries collect them all and write back. Sophie finds one letter that had been lost for 50 years and writes back, only to have the original writer Claire (Redgrave) show up with her grandson Charlie (Egan) on a quest for her long-lost love.

As you can imagine (and visibly see in the trailer), the old woman finds her long lost love and the young girl starts to get close to the young boy. I'm sure you can guess how the movie will end, but the point of the movie is precisely that you get exactly what you want out of watching it. I could complain about minor details like the slow pacing, sloppy writing, and confusing camerawork time after time, but the technical details simply don't matter for this movie. The movie's charm is in its inhabitants, and their relationships with each other, and that is really something to cherish about this film. The people are friendly and funny (how Claire treats her grandson, how Victor talks about food) and their connections--while far from unique--are precisely what we want our own connections to be. And that is where this film succeeds; it gives us exactly what we want, and it does so in the beautiful country of Italy.

IMDb link: http://www.imdb.com/title/tt0892318/

Blindness (2008)

4/5

Blindness, directed by City of God's Fernando Meirelles, is a frightening, eye-opening film. In an unnamed, English-speaking city, an epidemic of blindness breaks out and the government begins to quarantine those infected. One woman (Julianne Moore) is still able to see, and helps her husband (Mark Ruffalo) govern Ward 1 of the quarantine facility with fairness and equality. A gangster (Gael García Bernal) uses his gun and threats of violence to take over Ward 3 and eventually the entire facility. He controls the food rations and requires other wards to pay him in jewelry; once that runs out, women. And from this basic, unsettling premise, we see the terrifying lengths men and women will go to when pitted against each other in a place without rules. What hope does good have at winning, or even surviving, against evil? Much like I Stand Alone, the movie is a bleak reminder of humanity at its most hopeless.

Technically, much of the movie was excellent. I loved the cinematography and its special effects, which simultaneously gave the film a gritty, raw realism and an evocative feel and mood. The music was memorable and brilliant, but felt out of place at times (it seemed a bit too playful). The editing was usually on-point but could sometimes be slow or poorly-timed. The characters were a bit bland, but the acting was more than adequate and altogether impressive. While movies like this are effective at what they set out to do, they are unpleasant and difficult to watch. Still, I felt moved by it and recommend it to those interested.

IMDb link: http://www.imdb.com/title/tt0861689/

Y tu mamá también (2001)

4/5

Alfonso Cuarón's Y tu mamá también tells the stunning, unforgettable emotional journey of two young Mexicans on a road trip with a sexy older woman. It is both a tender, funny coming-of-age drama and an exploratory character study of a woman who chooses to join these boys and teach them to mature--both sexually and as human beings--for reasons of her own. Suffice it to say, there are some secrets that are revealed during the journey that explore the characters and their motivations, adding unexpected layers to already complex characters.

As in Children of Men, this movie contains several evocative long tracking shots. Here they are used often during sex scenes and, in my opinion, serve the purpose of deglamorizing the kind of pornographic sex we see in Hollywood movies. They add to the reality and rawness inherent in life that is often lost during filming and editing. Other directorial choices make strong impressions on me as well. There is voice-over narration, but not the lazy, plot point-revealing narration that pisses me off. The choice of what information is and is not revealed through narration fascinates me. It seems to tell a completely different story, about the new, poverty-stricken Mexico that many remain unexposed to.

The performances by all parties are incredible, more than believable, and the other technical aspects are more than competent (although not in any way exceptional). And yet, despite all these positive aspects I find while analyzing the movie, it just didn't fully affect me. I was touched, but not moved. I was impressed, but not awestruck. How universal are the themes? Am I just watching a technically-adequate movie, or does it apply to my life in some way? How does it change me? I can't say it does, but to the sexually confused and/or Mexicans who can get more out of this work of art than I can, I highly recommend it.

IMDb link: http://imdb.com/title/tt0245574/

Babel (2006)

4.9/5

This is one of the most richly tapestried movies to show up in theaters this year, in plot, acting, and theme. The emotions, as in every Iñárritu movie, are explosive. Iñárritu really lets his actors give it their all. Layers upon layers of themes run rampant throughout, the main one being: miscommunication causes tragedy (à la Camus's famous Le Malentendu). But when that tragedy strikes, sadness is universal, heard loud and clear through silence. The story of the Japanese girl seems particularly out of place given the rest of the movie's plot, but it is only superficially so. Not only does it fit the main theme to a T, it also generates so many other themes (baring body vs. soul, being unable to hear vs. being unable to understand, distance and proximity, family and strangers, redemption and forgiveness, and many more) that I can see why Iñárritu decided to use it. By the way, the music is phenomenal. Its companion use with silence is so utterly devastating and haunting.

This movie is definitely not for everyone. It's an intense viewing experience and difficult to dissect; but such analysis is utterly necessary after watching this movie. Many will forgo trying to understand some parts and simply discard what made them uncomfortable because it's easier that way. Scenes often extend past their utility, forcing the viewer to question its meaning. That is not, however, an excuse for bad editing and overlong scenes, which Babel is not without. The coincidences and chain reactions sometime seem too constructed and planned for, a guilt similarly structured movies (like Crash) share. A lot of people are going to come into this movie expecting something similar to Crash; they are going to be very disappointed. Babel is hard to digest; its message isn't cookie-cutter simple and superficial or obvious. But for those it reaches, it's magnificent.

IMDb link: http://imdb.com/title/tt0449467/