DULL HOUSE

Set in 18th century New York, “The Heiress” seems like a typical period drama about (what else) the prospect of marriage. But unlike most romances, this film features no feisty fem. The titular character Catherine (Olivia de Havilland) is plain and boring – a maiden who’s an old-maid-to-be. Even her well-meaning father thinks she’s too dull to woo the opposite sex. Consider her sole great skill: embroidery.

At one party, however, a handsome man (Montgomery Clift) pursues her, soothes her with words, and moves her on the dance floor. Catherine is instantly smitten and soon, the suitor suggests of sudden marriage. Alarmed and concerned, Catherine’s father reins in the fast-galloping relationship. Can this love be explained by its perplexing nature? Or it can all be simplified in matters of finance? When a dreamy but broke guy courts a rich but dreary heiress, suspicions are bound to arise.

“The Heiress,” like its heroine, looks ordinary on first impressions. You’d never mistake it as a classic when it plods through its premise. But once you reach that intriguing turning point, the movie improves considerably. The second act grows sparks as one event triggers another. Doubts lead to questions. Questions incite confrontations. And confrontations exhume the hidden truths and frustrations. Screenwriters Augustus and Ruth Goetz have really found a solid story structure here. It is masterful in the way characters slowly emerge above the 18th century demure and unleash their emotions.

With a juicy material like this, the actors amply squeeze out their talents. As Catherine’s father, Ralph Richardson turns in a well-adjusted performance. The role could have been portrayed as purely intellectual snob. But Richardson is smart to engage sensibility into his act. It’s a welcoming trait that makes the character surprisingly accessible. On the flip side, the viewer will have a trickier time assessing the role of the boyfriend. This is thanks to Montgomery Clift who does a fine job of obscuring the man’s objective. Alas, as attractive the actor is, I wish the Mr. Clift could have imparted more charm, sexuality, and flashes of cunning. This could have enlivened the earlier scenes and provided greater impact on the latter events.

Of course, of all the actors, Olivia de Havilland is unequivocally the best. This is, without a doubt, her movie. Her Catherine goes through a transformation that is both credible and drastic. It is a feat for the ages and one that’s rightly rewarded with an Oscar for Best Actress. The film also garnered accolades in original score, art direction, and costume design. Its black-and-white cinematography should have won too. The film creates some striking shots; one includes an inventive viewpoint simply involving a mirror by the stairs. In a way, that creative framing is symbolic of the movie’s visionary motto: Nothing is plain and boring when seen from a refreshing point of view.

Grade: A-

CAST Olivia de Havilland, Montgomery Clift, Ralph Richardson, and Miriam Hopkins Based on the play by Augustus and Ruth Goetz Screenplay by Augustus and Ruth Goetz Directed by William Wyler

Movie Trailer:

LET’S GO IN MY YUGO

Where is “Where’s Fluffy”? This is the question that sets the quest in “Nick and Nora’s Infinite Playlist.” The Holy Grail here is a legendary band that performs in secret venues. Two of its searching fans are strangers Nick (Michael Cera) and Nora (Kat Dennings). The two meet in a New York club, where she makes the first move, albeit lamely and desperately.

“Would you be my boyfriend for five minutes?” she asks Nick, pulls him closer, and presses her lips against his.

She’s acting out a lie – a lie she has told a haughty girl named Tris. No way would Nora admit that she came to the club without a boy. Nick, meanwhile, is too stolid to play along with the kiss. The recently-dumped chap is too lovesick to click with the chick off his lips. Of course, as it turns out, Nora’s nemesis and Nick’s ex-honey is one and the same person (Alexis Dziena). It is the first of the many complications. This teen movie is a comedy after all. And look for two gay band mates, a plastered friend, and a mini Yugo to join forces with the twosome.

The movie itself is not a bad trip. Michael Cera and Kat Dennings are great to watch. Cera is passively awkward, as usual. His comic timing is impeccable and his shtick is yet to get old. The opening scene alone, where Nick leaves Tris voicemail messages, is hilariously executed. As Nora, Dennings has a low-key allure. She might be no Ellen Page (Cera’s last cuddle in “Juno”), but she can dole out droll verses. In the supporting cast, Ari Graynor, Aaron Yoo and Ravi Gavron are game in their comedic parts, though I thought the writing writes them off as two-dimensional companions.

The screenplay is the big disappointment here. At times, it mistakes childishness and stupidity for greatness. Hey, even immaturity can get old fast. Personally, I wanted a more bracing and youthful story. Rather, the movie recycles the same characters and forcibly regroups them towards the end. I’d much prefer if Nick and Nora bumped from one new interesting character to another. This would’ve kept the story fresh.

I would compare “Nick and Nora’s Infinite Playlist” to a typical album and its scenes are like its songs. On consequent tries, you hardly have patience to experience it as a whole. You simply skip to the best parts. There is no denying that some scenes rocked; the others were – uhm – rocky.

Grade: B

CAST Michael Cera, Kat Dennings, Ari Graynor, Aaron Yoo, Ravi Gavron, and Alexis Dziena Based on the novel by David Levithan and Rachel Cohn Screenplay by Lorene Scafaria Directed by Peter Sollett Rated PG-13 for sexual situations and profanity

Movie Trailer:

THE FIVE SENSES: SMELL

“Perfume: The Story of a Murderer” might be literally odorless, but it’s, more or less, a movie for the senses. It sniffs the story of Jean-Baptiste Grenouille (Ben Wishaw), a 16th century Frenchman who is born with a superhuman sense of smell. Born amidst the stink of marketplace, Grenouille grows up poor but with rich knowledge of odors, both good and bad. Once he grows of age, he puts his knowing nose to use, becoming the apprentice of an Italian perfume maker (Dustin Hoffman). Grenouille then becomes obsessed with finding the most pleasing (preferably, the most ethereal) smell. Naturally, the young man becomes hooked on pheromones produced by beautiful maidens. He soon begins a murder spree, in an effort to capture the scent of a woman in a bottle.

Tom Tykwer, who broke out with the brisk “Run Lola Run,” is audacious in bringing Grenouille’s imaginative story to life. He uses strong visuals to simulate odors. He makes two of Grenouille’s obsessions to be both beautiful redheads. Frank Griebe’s cinematography is stunningly alive. From the hero’s graphic birth to the chilly murders, the movie hounds with impetuous flair. It never loses its textured, earthy grit, even if the story wanders in its magic realism. In the lead role, Ben Wishaw is aptly cast, easily believable as both a childlike olfactory student and a calculating killer. Here is a disturbing portrait of evil in the form of an innocent-looking young man.

Grade: A-

The Five Senses series
Sight – Wait Until Dark (1967)
Taste – Babette’s Feast (1987)
Hearing – Children of a Lesser God (1986)

CAST Ben Wishaw, Dustin Hoffman, Rachel Hurd-Wood, Simon Chandler, David Calder and Alan Rickman Based on the novel by Patrick Suskind Screenplay by Andrew Birkin Bernd Eichinger Tom Tykwer Directed by Tom Twyker Rated R for violence, profanity, nudity, and sexual situations

Movie Trailer:

A NOT-SO-BEAUTIFUL MIND

College life is a lifestyle of partying and getting some. Well, at least, that is how it is perceived in American movies. So, I was a bit taken back when I saw “Poison Friends” – a French movie with the novel idea of showing students actually studying. (Say what?)

The story involves an opinionated genius named Andre. The student’s intelligence and personality is prodigious. If brain could be flexed like muscles, he’d be the big man in campus. His friends worship him, listen to his advice, and follow his suggestions. They trust him completely. Of course, just because Andre has a brilliant mind, it doesn’t mean he’s also good-hearted.

“Poison Friends” slowly develops into a psychological suspense. We don’t know what Andre is up to, yet we sense he’s up to no good. He is a cunning liar; a manipulative schemer. He is smartly played by actor Thibault Vinçon, in an intense and mesmerizing performance. The movie has a voyeuristic approach to the unfolding of the events. It’s like sitting at an academic arena and watching mind games play out. While blood might not be spilled, ego will suffer a blow.

Grade: A-

CAST Malik Zidi, Thibault Vinçon, Thomas Blanchard, Dominique Blanc, Jacques Bonnaffe, and Natacha Regnier Screenplay by Marcia Romano Emmanuel Bourdieu Directed by Emmanuel Bourdieu Not Rated

Trailer (in French)

RUFF CHILDHOOD

“My Life as a Dog” is neither about a dog nor a person turning into one. Rather, it’s about a 1960s Swedish boy who recollects his bittersweet boyhood. His name is Ingemar (Anton Glanzelius) and he longs for the silly throwback times when he can make his mother laugh. But oh those days seem to remain alive in his memory. Ever since his mother coughed up blood, Ingemar is no longer deemed as the source of entertainment. He has become a chore; he’s too much to handle for an ailing mother. And so, young Ingemar is sent away to the country, to live with his uncle for the time being.

This foreign film is an early gem from Lasse Hallström, who has helmed such award-attention films like “The Cider House Rules,” “Chocolat” and most recently “The Reader.” One of his strengths is capturing the spirit of a provincial community and here, he produces a quirky circle who welcomes the sad and lonely Ingemar. Among the noted residents are the town’s blonde bombshell, a corset catalogue reader, a persistent roof builder, and a punchy girl passing as a boy.

While the cast is quite endearing; it is the child actor that commands the screen. Anton Glanzelius is not a cloyingly cute kid, but his personality (particularly his pondering) comes off as adorable. He hits a lot of precise and innocent notes from wag-tail bliss to lick-wounded heartaches. He makes Ingemar one of the most unforgettable coming-of-age characters.

The curious thing for me is to why Ingemar would refer to himself as a dog. In the movie, there are two dogs he thought of the most. There’s his beloved Sickan, who was left behind when he moved. And then there’s Laika, the launched Soviet dog which did not return from space. My guess is that he has conjured up the idea that to be a dog is to be alone. And while Ingemar thinks of himself as abandoned, we, the audience, join him in the communal recognition of loneliness. It’s a beautiful, poignant moment of being together alone.

Grade: A-

CAST Anton Glanzelius, Anki Liden, Tomas Von Bromssen, Melanie Kinnaman, and Leif Ericson Based on the novel by Reidar Jonsson Screenplay by Lasse Hallström, Reidar Jonsson, Brasse Brannstrom and Per Berglund Directed by Lasse Hallström Rated PG-13

A Scene From the Movie:

THE FIVE SENSES: HEARING

Marlee Matlin had an extraordinary start as an actress. In 1987, with only one screen performance, she nabbed an Oscar for Best Actress, winning over the kickass Sigourney Weaver of “Aliens.” Furthermore, at 21 years of age, she became the youngest of the Best Actress winners – a record that still stands today. This is all thanks to a drama called “Children of a Lesser god.”

In the film, Matlin plays Sarah, a deaf woman who refuses to speak. It’s an intriguing performance. Matlin, who’s (mostly) silent, aggressively fleshes out her character on the limitations of body language and facial expressions. She channels Sarah’s fiery temper through big and fast hand gestures. Psychologically speaking, the character Sarah is a walking time bomb, but the problem: she can’t scream to explode.

“Children of a Lesser God” is distinct for its insights on deaf people, mostly portraying them as (shock!) normal people. They can be smart, successful, self-reliant, funny, cool, or badass. Imagine that. It must have been enlightening to discover this — way back in the 80s. However, as innovative as the movie thinks it is, most of the story stays within familiar territory: a love story.

The love interest here is played by William Hurt as a special-ed teacher, who’s intrigued by the beautiful Sarah and wants to make her better. The heart of the movie is the fascinating dynamics between Hurt and Matlin. When they have “verbal” fights as a couple, it is weird to hear William Hurt doing all the talking. It’s interesting too that the couple is ensnared by usual relationship pitfalls. But in their scenario, misunderstanding and miscommunication is at a different level. How do you connect with someone when the communication is somewhat limited?

For some reason, I muted my TV several times while watching the movie. Maybe I wanted to put myself in Sarah’s eyes and ears. To see loud actions with silence is an odd, ear-opening experience. Something seems missing. The world feels incomplete. The novelty wears off quickly however. To lack something, to feel imperfect, is familiarly human. It’s a feeling all too normal, whether you’re deaf or not.

Grade: B+

The Five Senses series
Sight – Wait Until Dark (1967)
Taste – Babette’s Feast (1987)

CAST William Hurt, Marlee Matlin, Philip Bosco, Allison Gompf, John F. Cleary, Philip Holmes, Georgia Ann Cline, and Piper Laurie Based on the stage play by Mark Medoff Screenplay by Hesper Anderson Mark Medoff Directed by Randa Haines Rated R

A Scene From the Movie:

“Indiana Jones and the Last Crusade,” the third film (albeit not the last) of the series, details more personal background on the famed archeologist. On its opening scene, the film checks out young Indiana (played by River Phoenix) who already shows passion on rescuing artifacts from undeserving hands. On latter stages, the movie pairs up the grown-up hero (the iconic Harrison Ford) with his intellectual father (the even more iconic Sean Connery) as they both pursue that most revered artifact – the Holy Grail.

There is some comfort and ease in watching an Indiana Jones film, mainly for its familiarity. In the hands of George Lucas and Steven Spielberg, the movie is expectedly a well-produced entertainment. The film’s stroke of genius is pairing Ford and Connery, whose father-son banters are the movie’s true treasures. For the first time though, I was struck at how “popcorn” this blockbuster really was. I smelled some cheesy gimmicks within the story. The sets looked like sets. I also had trouble with the abundance of its laidback humor. It feels outdated and takes away some suspense from the derring-dos. With that said, I still anticipate Indiana #4 with an older Harrison Ford donning the fedora one more time.

Grade: B+

CAST Harrison Ford, Sean Connery, Denholm Elliott, Alison Doody, John Rhys-Davies, Julian Glover and River Phoenix Story by George Lucas and Menno Meyjes Screenplay by Jeffrey Boam Directed by Steven Spielberg Rated PG-13

Adapted from a Sondheim musical, Tim Burton’s “Sweeney Todd: The Demon Barber of Fleet Street” tells the story of a vengeful barber (Johnny Depp) who returns to London to get back at a duplicitous judge (Alan Rickman). But before he settles the score, he is aided by an accomplice, in the form of an adoring pie maker (Helena Bonham Carter), who lives downstairs from his barbershop. Together, they combine resources to rid of the city’s vermin, including that of the evil judge.

I confess my high score for this film initially perplexed me. Chop up the movie and I cannot say I love any of its individual parts. I’ve seen superior performances from Depp and Carter. I’ve watched better Burton films. I’ve heard better music from other musicals. And yet, I soon realize, grind these parts together and what comes out is a meaty, delectable feast of a movie. When “Sweeney Todd” comes together, with its grotesque emotions of love, revenge, and affection, it is packed with unexpected horror, humor, and power. Bravo to Tim Burton, an essential visionary, who uncovers beauty in the darkest parts of the streets and of the heart.

Grade: A

CAST Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Jamie Campbell Bower, Jayne Wisener, Edward Sears, and Sacha Baron Cohen Based on the musical by Stephen Sondheim and Hugh Wheeler Musical adapted from the play by Christopher Bond Screenplay by John Logan Directed by Tim Burton Rated R for graphic bloody violence

SHOW ME THE MONKEY

What to expect in a movie called “Drunken Monkey?” A wild Friday night at the zoo? Well, it turns out to be a martial arts film. The premise involves an uncle and his nephew (roughly of the same age) searching for a legendary kung fu master who performs the Monkeyish Fist. They have no idea the trouble they’re in for because the master does not want to be found. He’s hiding from some bad guys (in opium business) who want him dead. And you know, when there’s trouble, there are going to be some arms and legs violently flailing for sure. That’s how things get settled in China.

No one is going to watch this movie for its story. It’s all about the kung fu fights. I haven’t seen an old-school Hong Kong flick in a long time. It’s really refreshing. I like watching martial arts turned into a virile art of dance. The choreography is very rhythmic and dynamic. The action does not disappoint, but sometimes feels interminable. It goes on and on and on. For all the deadly kicks and blows, some characters are so invincible – they can’t just die.

The movie is really a showcase for Lau Kar Leung, who not only directs but also plays the kung fu master. At 66, the old man exhibits agility and robust strength to the tip of his fingers. The fighting style however is a bit bizarre. The actors do monkey poses and silly faces. Their secret weapon is wine. Come to think of it, that makes sense. Alcohol does make a monkey out of you. The film’s humor is a bit of an acquired taste. It plays its comedy too broad, too obvious, too silly, too gimmicky, but probably altogether harmless. “Drunken Monkey” is a passable entertainment. With its mixture of kick-ass action and Chinese goofiness, this cocktail of a movie is a punch. It might be more fun if you watch it inebriated. Have yourself a simian party.

Grade: B

CAST Wu Jing Jason, Gordon Liu, Chi Kuan-Chun, Lau Wing Kin, Shannon Yao Yao, and Lau Kar Leung Screenplay by Pak Ling Li Directed by Lau Kar Leung Rated R for some violence

DAREDEVILS

There is no doubt a lot of work went into this French romantic comedy. It has flashy editing, whooshy camerawork, and super whimsy special effects. But “Love Me If You Dare” seems like a product of dare itself. It has one of the most absurd storylines in recent years.

The movie is about daredevils Julien and Sophie. As kids, they have bonded through a game of dares. They goad each other into risky antics, from public urination to wedding ruination. They’re pretty rotten, unruly children. But it is okay; they’re entitled. Because 1) they’re the main characters, 2) they’re really cute, 3) Sophie lives in a low-cost housing and 4) Julien’s mom is dying.

Years later, being a young gent and a young lady, Julien and Sophie (played by Guillaume Canet and Marion Cotillard, respectively) are still up to no good. However, the game is threatened by a growing romance. Or is it the other way around? They’re unable to come clean with their feelings, fearing that love might turn into a game.

Unfortunately, “Love Me If You Dare” is treated like a game. And worse, it invites us to play, only to be played. The filmmakers want us to care about the daring couple, but as the story evolves, it is becoming a challenge to like them. In fact, I grew to loathe them. It felt like I was a target of a mean prank.

To be fair, the film has moments of interest. There are a couple of scenes where their love turns into something sadistic. But it irks me that the film treats this as endearing or magical. Most of the time, the film’s viewpoint is so mentally unsound; the filmmakers need to get their heads examined. They’re not crazy genius; they’re crazy cuckoo.

Look, I am not asking for a reasonable movie, but I’d like to grasp or pin down something. At least, the American ouchfest “Jackass” is straightforward and clear in its purpose. This French film is all over the place and practically toys with just about everything. The story lacks logic. The characters do not solicit empathy, since they function as playthings rather than people. It’s just too bad. The actors are actually good and good-looking in this. Thibault Verhaeghe, who portrays the 8 year-old Julien, is so noogie-adorable. Marion Collard, the future Oscar winner, already exhibits a gruff of spunk that she expertly used in “La Vie en Rose.” So, by the end, I don’t hate the players; I hate the game.

Grade: D

CAST Guillaume Canet, Marion Cotillard, Thibault Verhaeghe, Joséphine Lebas-Joly, Gérard Watkins, Emmanuelle Grönvold, Laëtizia Venezia Tarnowska, and Gilles Lellouche Screenplay by Jacky Cukier and Yann Samuell Directed by Yann Samuell Rated R for language and some sexuality