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.
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.
WELCOME TO THE REAL WORLD
Once upon a time when we were young, a studio, by the name of Disney, brought us the gift of entertainment. It told us animated fairy tales by the likes of “Cinderella,” “Pinocchio,” “The Little Mermaid,” “Beauty and the Beast,” and “Aladdin.” Those were innocent times – full of wonder, hopefulness, and fervent dreaming. Then, one day, we suddenly reek in spirit. Perhaps, it was a rancid stench of grown-uppity. Time is forcing us to march into and sweat it out in the real world. Are we all maturing to be realistic, prepping ourselves numbed for life’s oncoming disappointments?
Maybe a clean-feeling, PG-rated viewing of “Enchanted” could scrub off the adulterated grime. The movie is practically a trip down to not-so-long-ago, with its initial scenes, drawn in old-school, two-dimensional animation. We meet the fair maiden Giselle (Amy Adams), who talks to, sings to, and dances with woodland creatures. Naturally, her heart is sighing as she dreams of meeting her one true love. Unbeknownst to her, Prince Edward (James Marsden) gallops in the distance, eager to accompany her in a duet of love outpouring. When they finally meet, they lock eyes and of course, plan to marry as soon as possible.
But it’s not happily ever after just yet. Queen Narissa (Susan Sarandon), the prince’s stepmother, unable to give up her throne, has mua-ha-ha diabolical plans to ruin the nuptials. She pushes the princess-to-be into a “wishing well” which transports Giselle into a world where there are no happily ever afters.
SIS, CEASE THE NEUROSIS
Let’s start with an analogy: Judd Apatow is to sexually hormonal geeks as to Nicole Holofcener is to hormonally distraught women. Both are fine examples of filmmakers who have zestfully zeroed in on a demographic. Of course, Apatow is huge now. I think Holofcener deserves to be big too. She’s all the more vital in an industry where the female perspective is paltry. (Quick, name ten female filmmakers!) It’s not that her estrogen-spiked films have more mature or better-behaved characters. In fact, “Lovely & Amazing” show that women can also be just as juvenile, clueless, crass, and self-absorbed as guys can be.
Consider Michelle Marks, played by Catherine Keener. She’s a housewife and a mother, who has not outgrown her “homecoming queen” persona. She doesn’t have a job and sticks to worthless arts and crafts. Her younger sister Elizabeth (Emily Mortimer) is a small-bit film actress. It’s a profession that has Elizabeth fixating on her own physical flaws. Their mother (Brenda Blethyn) hops on the vanity train as well, as she opts to follow her gut to rid of her gut through the magic of liposuction. Finally, there’s the wild card of the four: six year-old Annie (Raven Goodwin), the adopted daughter and sister. The obstinate child has adapted the family’s insecure neurosis. She is outspoken about her African-American race and her obesity.
LIE-ABILITY INSURANCE
The movie opens with a shot of a man, walking in crutches. The idea of it sounds harmless. And yet, with the ominous music playing and the silhouette creeping closer to the camera, the scene efficiently haunts. Within these few seconds, while credits fade in and out, noir, as a style, has already proven its efficacy. It’s an auspicious start for a film that will only get better.
The story of “Double Indemnity” is narrated by an insurance salesman named Walter Neff (Fred MacMurray). Through a dictaphone, he confesses to have taken part in a criminal scheme. It all began on a visit to the Dietrichson residence. Walter is on an errand to renew auto insurance. The husband is not present, but Phyllis, the towel-clad wife (Barbara Stanwyck), is. Walter is immediately smitten by her. At first, the two converse about insurance. After gauging their sexual chemistry, they engage in a 40s-style metaphorical flirtation. He leaves amused, itching for another visit. She tells him to come back tomorrow evening.
The next day, she cancels and tells him to come back another time. Walter obeys, but on his second visit, Mr. Dietrichson is once again absent. The insurance man becomes suspicious of the tempting wife. She claims she has relayed the information and her husband is willing to renew. And then, in an act of worry and coy, Phyllis brings up her rich husband’s hazardous line of work. She wonders of attaining an accident policy for him, but without the husband knowing. Walter instantly perceives her brazen intent.
TO CATCH A PREDATOR
Jack Nicholson looks different in “The Pledge.” He subdues his Hollywood persona, grows a mustache, and shows his aging mug. It’s uncommon to see him looking so common. Then again, “The Pledge” is not a common movie.
Nicholson plays Detective Jerry Black, who, in an early scene, uncovers his own retirement party, secretly planned by colleagues and friends. He is send off with a wonderful parting gift: a fishing trip in Baja. The happy celebration however is interrupted at the arrival of a report. Eight year old Ginny Larsen, a pretty girl with blue eyes and blond hair, is found murdered among snowy woods. Jerry decides to help out on the case, opting to catch one last predator, before retiring to catching fish.
The crime scene is awful to look at. The dead youngster was sexually molested and brutally slayed. No one wants to do the thankless job of informing the parents. Jerry steps up and breaks the bad news. Ginny’s grief-stricken mother (Patricia Clarkson) asks the detective if he’ll swear on his “own soul’s salvation” that he’ll find the killer.
“Yes,” Jerry responds sincerely. “Yes, on my own soul’s salvation.” It’s the defining pledge that will resound until the movie ends.
LIVING LIKE THERE’S NO TOMORROW
Okay, campers, rise and shine, and don’t forget your booties ’cause it’s cooooold out there today.
It’s February 2nd, six o’clock in the morning. Weatherman Phil Connors (Bill Murray) wakes up in Punxsutawney, Pennsylvania. He’s there to report for the stupid Groundhog Day festivities. On his way to the occasion, he is hounded by an annoying high school classmate. As he walks away from him, he accidentally submerges his foot in a puddle of slush. Ugh, not a good way to start the day. Now, he has to stand in front of the camera and pretend to be all interested about the ho-hum event. His producer Rita (Andie MacDowell) and cameraman Larry (Chris Elliot) do not like Phil’s bored attitude and dub him as a prima donna. But geesh, look at what a waste of time the whole thing is. A groundhog supposedly predicts if there are six more winter weeks or an early spring. Come on! Is anyone really buying into this? Is this really news-worthy? What a waste of Phil’s talent. Can you really blame him if he wants to get the whole thing over with? But no, his luck seems to get worse. An unpredictable blizzard approaches and Phil has to extend his stay in snoozetown. What a bad day. Hey, at least, it couldn’t get worse tomorrow.
SHE HUFFS. SHE PUFFS. SHE’S JUNO MACGUFF.
Ellen Page is Juno MacGuff, the smart-aleck teen whose cinematic story begins with a chair. Yes, a chair. That most magnificent piece of furniture is where she has done the deed, which leads to the pee-stick-confirming news that, holy cow, she’s pregnant. And who – uhm – rocked that chair with her? Why, it’s none other than the adorkable Paulie Bleeker (Michael Cera).
“Paulie Bleeker?” Dad MacGuff (J.K. Simmons) reacts with puzzlement. “I didn’t think he had in him.” But, it’s true. The soft-spoken and lanky-legged runner had a fast swimmer in him. Anyway, what’s done is done. The girl is knocked up and inside of her is a fingernail-growing fetus. As for plans, Juno aborts abortion and adopts, that’s right, adoption. She intends to give up Juno Junior to Mark (Jason Bateman) and Vanessa Loring (Jennifer Garner), the baby-starved couple who lives in a well-to-do suburban house. In return, the Lorings are willing to pay for Juno’s medical expenses. Sounds like a nice dealio, but will everyone follow through once the munchkin pops out?
