THIS IS WHERE I LEAVE YOU

Jason Bateman, Jane Fonda,

Tina Fey, Adam Driver, Timothy Olyphant

Corey Stoll, Rose Byrne, Dax Shepard

"Welcome Home.
Get Uncomfortable."

This film takes off after the patriarch dies and the grieving widow (Jane Fonda) wants all her children to come home for the burial. This sets in motion a dysfunctional family set up where siblings who haven't really kept in touch with each other nor with their mother are now stuck in one big house.

There are a few enjoyable moments. The emphasis is on 'few'. But it is all mostly sanitized, safe way to show how the adult kids lives get complicated as past loves, current frustrations and their shortcomings come to fore. But problems which tend to be mostly self-involved as it is wont to happen in this selfie obsessed times. 

The problem with a plot that has an ensemble cast (even if they are composed of good actors) is not all the characters are given enough narrative. Too many characters and side plots and it gets to the point where it all becomes one big mess and quite maddening. They should have really just focused on the characters played by Tina Fey and Jason Bateman as they were the most interesting among the siblings. 

"This is Where I Leave You" mostly works in part due to its good casting of credible actors like Jane Fonda, Tina Fey and Jason Bateman. It was nice to see them interact as family members with many predictable yet not too serious problems. But as dysfunctional family dramedy goes, I've honestly seen worse depictions of this popular genre.

BOYHOOD

Ethan Hawke, Patricia Arquette,

Lorelei Linklater, Ellar Coltrane

"12 Years in the Making"

Aside from the fact that director Richard Linklater ("Before" trilogy) willingly took twelve long years to film this movie, there isn't much to rave about, really. So I don't really understand how it managed to get the critics nods and garner all the nominations for the best picture category in all the major awards.

"Boyhood" tells the story of Mason who we first see as a 5 year old boy until he reaches 18 years old. He grows up in different households as his mom isn't so lucky when it comes to maintaining her relationships.

Granted that it is a cinematic feat and a lifetime endeavor for its director, having to see the same actors evolve through the years without much conflict would qualify for me more as a documentary than a movie. It won't even be a reality show since those have more drama for our own good yet they are addicting to watch, don't you agree?

Sure it is a unique concept of filming a movie over 12 years with the same cast. But unless you got a very good story and a strong plot to begin with it, it just ends without any impact where nothing of note ever really happens. Except for the visible fact that the kid grows up right before your eyes from a cute little boy to an ordinary young adult.  It deals with how Mason relates with his divorced parents, his older sister as well as the various guys who become his stepfather(s) and the world in general.

But still Patricia Arquette and Ethan Hawke's performances deserve recognition. As the divorced parents of Mason, they provide support and proper guidance for the son to grow up, for lack of a better word, decent. He is basically a good person with no vices or strange hang ups. He is just as normal as can be.

Seeing Ethan Hawke visibly age and coming into this frequently absent father role is great. He gives a credible portrayal of any divorced father who is trying to be a better parent. Patricia Arquette may not be a big star but she has always been a steady actress. Here as the mom who is not perfect (nobody is perfect, anyway!) but continues to be the best mother she can be given her various limitations, she is impressive.

BEGIN AGAIN

Mark Ruffalo, Keira Knightley,

Adam Levine, Catherine Keener

"You're Only as Strong as
Your Next Move"

John Carney, the director of the much acclaimed indie movie "Once" presents us with a similar story but with better actors and better songs. I have to admit I didn't really like "Once" for the acting skills of the leads were a major turn off. Yes, granted that he got non-professionals to play the roles but still it didn't move me as much as I expected it to.

Well good thing that "Begin Again" had Mark Ruffalo in it and even though the plot is a bit predictable, his mere presence made it all worth while. As the title implies, it is a movie about second chances and the opportunity to make wrong things, right.

After Dave (Adam Levine) lands a major record deal with a label in New York, he and his music songwriter/girlfriend Gretta (Keira Knightley) move to the Big Apple. As it usually happens, Dave gets eaten up by the fame, glory as well as infidelity and shortly after leaves Gretta all alone. Literally and figuratively since Dave has hooked up with someone else and Gretta now faces a lonely existence in a city where she hardly knows anyone. Except for one musician friend named Steve. He manages to convince her to perform her song at a small gig.

Coincidentally, a down on his luck, music executive portrayed by Mark Ruffalo named Dan is in the audience and is immediately captured by her raw talent. Dan is not really in a good place, he has been disgraced at work and he has to deal with a cheating wife. Yet he believes he has found the next best new artist in the person of Gretta and he goes all out to record, market and promo her single.

The film showcases their encounters and adventures as they record her song in various sights in the city that never sleeps. Their conversations are polite and they maintain a professional relationship throughout their sessions. Even as we see them dealing with their personal life in the sidelines. 

I like how they were able to maintain a platonic relationship even though there was a certain attraction between them, they never acted on them. Their chemistry was evident but it was good they took the unconventional route and didn't end up as a couple. They both have some deep personal wounds that needed time to heal and it is just right they maintain a good working partnership without the trappings of romance hindering their goals.

It was refreshing to hear Keira Knightley' singing voice and watch her playing the guitar. Although it wasn't a strong tone, she still kept it in tune. Adam Levine from the Maroon 5 band was authentic in his portrayal as basically a jerk. He sometimes gives out that vibe even though we all know that his antics on "The Voice" are mostly scripted. Mark Ruffalo is a much underrated actor but he can do no work in my books. I've always been a big fan of his work both as an actor and a vocal advocate for climate change and the protection of the environment.

I liked "Begin Again" better than "Once". It kept things as real and realistic as can be. A film about moving onward despite numerous challenges which can bring anyone down yet choosing not to quit  but to face them, head on. In the process, a renewed mind, body and soul emerges and suddenly life doesn't seem as dim as we anticipated it to be. 

THIRD PERSON

Liam Nesson, Olivia Wilde,

Adrien Brody, James Franco,

Mila Kunis, Maria Bello,

Kim Basinger, Moran Atias

"Life can Change at the Turn of a Page"

Paul Haggis, the writer-director of the acclaimed multi-story film "Crash" is back with the same type of story telling. This time, it is three different stories which play out in Rome, New York and Paris. The tales seemingly share the common themes of dealing with the betrayal of trust, estranged relationships and the tragedy of losing a child.

Liam Neeson is a writer cooped up in a swanky hotel room in Paris trying to finish his second novel to prove that he isn't just a one book author. In Rome, Adrien Brody plays an unscrupulous businessman who steals designs from clients. He finds himself embroiled in a shady deal with a beautiful woman who may or may not be a con artist, herself. While Mila Kunis is cast as a former actress who now works as a chambermaid in a hotel in New York and is currently in a bitter custody battle with her ex-husband. The three tales eventually cross over as certain characters overlap and their narratives merge.

But what worked in the Oscar winning "Crash", unfortunately does not apply in "Third Person". Although each of the stories have enough drama based on their merits and could actually be turned into a full length movie separately, it doesn't work as a whole.

There are a lot of deliberate yet confusing details which aren't fully explained in the course of the movie. You start to notice small yet very significant details which further add to the confusion. You begin to question yourself whether it was just you who noticed them or if it was purposely added for some reason. Such as a note which was written in one hotel room in Paris, ends up being read in another hotel room in New York.

The stellar cast gave credible performances even as the script is poorly executed. As the film rolled towards its very vague conclusion, I was already way too sleepy to actually force my brain cells to make some sense, any sense about the total nonsense that just unfolded.

THE FAULT IN OUR STARS

Shailene Woodley, Ansel Elgort,

Laura Dern, Willem Dafoe

"They Don't Have Forever,

They Have Each Other"

Yet another best seller novel which was adapted into a movie. Both of which were much hyped and generated quite a frenzy from the fans. Of course, as usual I never read the book. I'm too cheap to buy books, I'm too lazy and/or I don't find the time to just stay put and read.

Having said that, neither am I, a person who goes for hyped up 'events'. Be it the newest restaurant that draws a long queue, or a novel that lands in the best seller lists. I would shun away from it - just because it is the latest trend and wait patiently till the hype subsides, then I make my move. Yet I keep myself informed and know all about the latest 'happenings' in town. 

"The Fault in Our Stars" as everyone knows is about two young adults with terminal cancer who fall in love. Hazel (Shailene Woodley) is young, smart and quite witty and walks around with a portable oxygen tank which eases the flow into her respiratory system given that she has only one lung.  While Augustus or Gus (Ansel Elgort) is the typical charming boy next door type with a pleasant smile and you wouldn't know he has cancer unless you are shown his prosthetic leg.

They met at a cancer support group and even though Hazel was put off by Gus' attitude - they eventually realize they are mostly in the same wave length when it comes to their attitude towards life. They exude a certain level of maturity which gives them strength to accept their fate without dwelling on their illnesses. But rather focus on living their lives to the best of their abilities.

I have a feeling this common bond would have been more palpable in the pages of the novel because I hardly felt any chemistry between them in the film. Shailene Woodley was a revelation though and I like her comfy style of acting in her role as Hazel. She made Hazel, an endearing character. Unfortunately, I can't really say the same about Ansel Elgort. He needs to attend more acting workshops to add more depth and dimension to his portrayal.

Naturally any type of love story, be it tragic or not would draw in the crowds. I can see how such a plot would appeal to a wide spectrum of audience. But I'm now too sarcastic to get swayed merely by the love story angle. That is why I like the part where Hazel and Gus go to Amsterdam to meet their favorite yet reclusive author. The guy turns out to be quite a jerk but I think that unpleasant encounter was a good 'conflict' which contributed to the personal growth of the two leads.

I also like how Hazel and Gus were not cut out as tragic characters but as 'normal' people who just happen to be in the terminal phase of cancer. Not to make light of their illness but they handled the aspect of dying in an acceptable and non offensive manner. Certainly not dwelling on something they could not control but celebrating life in all its glory, something we should all emulate!

TRANSCENDENCE

Johnny Depp, Rebecca Hall,

Paul Bettany, Morgan Freeman

"What if a New Intelligence was Born?"

Nowadays, Johnny Depp has evolved into either essaying roles of freaky yet unique characters or some normal guy stuck in a uniquely strange scenario. I guess the key word here is 'unique' and I understand for any actor it is imperative to delve into a role that will stand out from the numerous predictable ones.

It must be quite challenging for Johnny Depp specifically to always find roles which won't be, for lack of a better word, boring. I respect him for that and admire his guts since most of these roles although unique, per se, these movies don't really rake in the big bucks like blockbusters do.

In "Transcendence", he is cast as Dr. Will Caster, a technology expert at the forefront of artificial intelligence research. An advocacy which he and his wife Evelyn (Rebecca Hall) have passionately worked for ages. Their dream is to create an all knowing computer that has the personality of a human. Their work is abruptly cut short by an organization that opposes AI in any shape or form.

An incident occurs which puts Dr Caster's life in danger so before he dies, he decides to 'upload' his brain and his 'personality' into the computer. Upon his passing, Evelyn waits for the machine to wake up with Will's persona deeply embedded within its wired components. Behold! It works and it is presented through a computer monitor with a disembodied voice and Will's flickering face on screen.  It is quite freaky, creepy and everything that makes the hair on the back of your neck stand up straight.

As the film progresses at a slow and very long pace, we soon find out just how dangerous it is to play God and the perils of technology overload. Much of the movie focuses on the interaction between Evelyn and Will through the screen.

You keep asking yourself is it really Will or just some hologram presence of an uploaded version of him. Can machines really feel or are they just programmed to 'feel'? Are we being slowly trained to be more machine-like as we become more and more dependent on technology? Or do we project our personality unto our gadgets?

Either way, it is a dangerous world to live in as social interaction is minimized or practically non existent. But the scarier thought is we don't need a film like "Transcendence" to show us the dangers as we are all currently hooked on being connected at all times. Other people don't re-wire our brains, it just happens as we live more of our lives online. We're slaves to convenience.

Personally, there is nothing wrong with this premise. We just need to know when to 'disconnect' and be truly present in the 'here' and the 'now'. Heh! Well look who's talking?! I get hives when there is no wifi connection at any establishment I visit even for 10 minutes. 

47 RONIN

Keanu Reeves, Hiroyuki Sanada,
Ko Shibasaki, Cary Hiroyuki Tagawa,
Rinko Kikuchi

"Seize Eternity"

After my sister had surgery, she couldn't move much so we had movie marathons. Perfect time to catch up on my long list of accumulated movies to watch.

First off is this fictional tale about a 18th century historical event in Japan in which a group of "ronin" (master-less samurai) avenged the honor of their dead Lord/Master. It is strictly forbidden for a ronin to seek revenge. But this group believed that their master was set up after he was accused of assaulting a court official. They planned and waited for one year before they set off to kill the one they hold accountable for the 'injustice'.

The event itself is still widely revered in modern day Japan as annually on the 14th of December, people hold a festival at the Sengakuji temple to commemorate it.

"47 Ronin" is clearly a fictional tale as it has a Caucasian dude named Kai (Keanu Reeves) known as the 'half-breed' who joins the 47 leaderless samurai. There is also a witchcraft element to the film which sets a fantasy tone amidst the beautiful backdrop of a small mountainous district. All of the characters, except of course for Reeves are portrayed by Japanese actors who all just happen to speak English, fluently. 

Yet it is also a vividly graphic reenactment of the events that led to the revenge. Good sword play skills are displayed in the cleverly choreographed fight scenes. The costume design from the wardrobe of the samurais to the kimono worn as well as the manner of styling their hair are all authentic and reminiscent of a long gone era in Japan's rich cultural history.

Hiroyuki Sanada as Oishi, the leader of the Ronin was spot on. He has this certain quality to him which makes him perfect to be cast as a samurai. Although I have seen him in other movies in 'normal' roles and he excels in every performance. 

I, for one liked the film despite the fantasy element and the general cliches, such as having one white dude ostracized by an entire group in the beginning of the movie; then eventually proving himself to be a much welcomed part of the group. I know this concept is quite predictable in these sort of films. Hint: Tom Cruise in "The Last Samurai".

Yet I believe the triumph of good vs evil and the strong need for revenge against an injustice always make good plot lines to bank on. Never mind that the 'act of vengeance' is highly prohibited in the bushido (samurai code of honor), the 47 Ronin knew the ultimate consequence for their behavior would be to commit ritual suicide which is known as seppuku. They accepted their fate with pride, honor and dignity.

So regardless of the historical inaccuracy, "47 Ronin" was one entertainingly good Samurai movie, imho!

CHEF (2014)

Jon Favreau, John Leguizamo
Sofia Vergara, Oliver Platt

"Starting from Scratch
Never Tasted So Good"

After all the heavy dramatic films, I wanted to amuse myself with some light fare. "Chef" fit perfectly as it didn't require much deciphering. The plot was simple yet entertaining, the cast was good and it centered around food - so it was just what I wanted.

Albeit all the cooking and the delicious food made me hungry I'm glad it also filled my mind - with a steady plot line which was realistically authentic. A feel good movie just like a comfort food which eases both our stomachs and our general attitude towards life.

Carl Casper (Jon Favreau) an accomplished chef loses his job after a restaurant critic lambasted his food. His career in ruins, he decides to  venture out on his own. He retrofits a van and turns it into a traveling food truck that offers good, tasty food on the go. With the help of a good friend and his young son, Carl's food truck business is a huge success.

We should all emulate Carl's never say die attitude and never give up. We should never lose hope despite facing many obstacles and upheavals along the journey. That if we set out minds and our hearts into pursuing our goals and our passion, we have no way to go but up. That trials and failures are just as much part of the journey and they tend to push us forward, making us stronger and more determined to achieve victory and success.

Wow did I just get all of those life lessons from "Chef"? Probably the light hearted mood made me more philosophical about life?  I don't know but it seems that way!

THE JUDGE

Robert Downey Jr., Robert Duvall,

Vincent D'Onofrio, Vera Farmiga,

Billy Bob Thornton

"Defend Your Honor"

Brash city lawyer Hank Palmer (Robert Downey Jr.) is in a court room defending his client when he receives a call informing him about the demise of his mother. He returns to his hometown for the funeral and tries to reconnect with his brothers as well as with his father, a respected judge (Robert Duvall) with whom he has a strained relationship. 

While Hank's in town, the judge is accused of a crime (hit and run incident) so he reluctantly acts as his father's lawyer. As he discovers the truth about the complex case, father and son as expected constantly clash yet Hank struggles to remain focus on proving his father's innocence despite overwhelming evidence which point to the contrary.

Part courtroom drama, but mostly a family reconciliation drama, "The Judge" is a powerful portrayal of a highly poignant father and son relationship. Both of them trying to come to terms in finding a common ground with their principles, their pride and their profession.

Even though it sometimes feel like an episode of L.A. Law (yes, I know that was a long time ago!) or any TV show which features lawyers for that matter, the averagely predictable plot is buoyed by the top notch performances of Downey and Duvall. Their scenes together are the main draws of the film. The supporting cast are also good and their characters are well developed and multi-dimensional.

I'd like to add that I am glad to see Robert Downey, Jr in a meaty role that doesn't require him to don a superhero outfit. He has always been a good character actor even though he did dabble briefly in comedy and the rom-com genre, I prefer him in dramatic roles. He was perfectly suited for the cocky and abrasive Hank Palmer. I hope he is given the chance to show off more of his 'dramatic' side instead of just being stereotyped as a superhero figure - which can get old, really fast!

GONE GIRL

Ben Affleck, Rosamund Pike,

Neil Patrick Harris, Tyler Perry,

Carrie Coon, Kim Dickens

"You don't know what 

you've got , 'til it's ..."

I was a bit ambivalent about this much hyped movie. Although I did not read the book by Gillian Flynn, I knew enough about the story line and it didn't strike me as being interesting. Another factor which added to my insouciance is Ben Affleck starring in the lead role. I've seen my share of his films and I've come to the conclusion that he is better suited behind the camera as a director than as the lead actor upon whose broad shoulders an entire movie would evolve around or dissolve for that matter.

In "Gone Girl", Affleck portrays what seemingly looks like an ordinary guy whose wife goes missing on the day of their 5th anniversary. Soon enough, it seems he isn't as ordinary as originally stated, Nick Dunne has secrets. I know from watching crime shows on TV that the first suspect in the disappearance of any spouse is their significant other.  True enough, the detectives zoom in on Nick Dunne as clues are unraveled and suspicions are confirmed.

The suspense factor in this cleverly directed film by David Fincher is palpable. He reveals just enough clues to the audience for them to be quite suspicious about Nick Dunne. Yet at the same time, he doesn't really outright make Nick Dunne guilty of a crime which gets murkier as the film progresses. We also learn that their marriage which looks good on paper wasn't as 'perfect' as expected. I guess no marriage is indeed perfect but the movie does project that married couples tend to showcase a different 'public' image than what really happens within the privacy of their marital union.

Of course, it would help if I had read the novel and would know in advance of the twist. This is where I believe the film lost its focus. The part where we find out what really happened to "Amazing Amy" (Rosamund Pike) and how she orchestrated the whole 'disappearance' was for me revealed way too soon. Never mind that the film runs at over 2 hours, the twist could have been handled better than it was presented in the film.

I maintain that the film is well directed and had enough suspense that one would expect from a thriller. The investigation was interspersed with a realistic angle of how quickly it turned into a 'reality show' and a media circus. Daily updates as well as the invasion of the 'suspect's' privacy were spot on. It makes you aware that behind all the incessant footage on the couples lives as shown on talk shows, there are real people who are going through enough turmoil and upheaval that the constant barrage of the TV crews on their front lawns would certainly not help them find any peace of mind.

"Gone Girl" is a dark and complex story with deeply unsettling and flawed characters. The type of story that does take a lot of mental prowess to wrap your head around because it is essentially quite creepy and disturbingly twisted. So you've been duly warned!

CANIBAL(CANNIBAL)

PELIKULA

SPANISH FILM FESTIVAL

Cinema 2, Greenbelt 3

I had my reservations about watching this film because I was under the impression it would show some really gory scenes. But it was not to be. Well I hope, I don't sound disappointed because I am glad with the way the film handled the cannibalism aspect.

Carlos is a prestigious tailor in a small town in Granada. But his well dressed and quiet demeanor exterior hides a chilling secret. He feeds on human flesh. But as I mentioned above, the film avoids gore but gets the point across in moments that do not involve actual.teeth.biting.into.raw.human.flesh scenes. Although the hunt and chase for his 'victims' is chillingly portrayed through silently haunting and terrifying vignettes.

Carlos is pretty much a loner, hardly socializes and does not really have any friends in town. But he is a much respected tailor and judging from his esteemed and well heeled clientele, he makes quite a good living as a tailor.  Things get a bit messy when his new neighbor Alexandra moves into the upstairs flat. A Romanian who speaks Italian, she is clearly a troubled soul and leads a chaotic life. A stark contrast to Carlos' ordinarily routine life.

An intriguing yet quiet attraction develops between the two of them, although neither of them act on it. Until one day, Alexandra just vanishes after she seeks Carlos help with a domestic dispute. A few days later, Nina her twin sister comes to investigate the disappearance and also finds herself drawn towards the reticent tailor who lives downstairs. She too is intrigued by the supportive Carlos who 'helps' her find Alexandra. Although, we know that he probably killed and ate her as well. 

As the film and their mutual attraction progresses, numerous questions abound. Little if ever any facts are known about Carlos. What drives him to kill women then eat them? Is he truly falling in love with Nina or is she just another victim for him? There are too many elements of the film and the characters themselves that is never really explored.  

As the 'secret' and twist is revealed towards the ending, the natural reaction of Nina is both shocking and a bit underwhelmed, to say the least. Until the final scene of reckoning for Carlos comes to a close, the film barely answers any of the questions that twirls inside the audience's discerning minds. 

The cinematography though is top notch with vividly clear scenes of a small town, the snow capped mountain (where he vacations in his cabin) which all nicely capture the quiet nature of both the main character as well as the manner the film unfolded across the screen.

Although I was relieved that the depravity of its main character was not exposed through bloody and messy scenes, I was also disappointed that the audience is simply made to accept Carlos for what he is - a cannibal who just happens to be a tailor!

LA GRAN FAMILIA ESPAÑOLA(FAMILY UNITED)

PELIKULA

SPANISH FILM FESTIVAL

Cinema 2, Greenbelt 3

People who regularly read this blog would know by now that I simply love voice-overs in movies. So the moment I heard a voice over annotating this Spanish comedy/drama, I was hooked.

It starts with Ephraim, the youngest of five brothers narrating that he and his siblings were named after the characters in his father's favorite film "Seven Brides for Seven Brothers". The brothers were named alphabetically from the Bible and in chronological order: Adam, Benjamin, Caleb, Daniel and Ephraim. That they are two brothers short is beyond the point. 

Early on, it is established that Ephraim is getting married on a very important date. It just happens to be the day of the 2010 World Cup finals where Spain will meet Holland in the finale. 

All the numerous characters loaded with a gamut of facial expressions, peculiar behaviors and multiple traits are introduced through various scenes that all blend together. As expected, there are also various sub plots that touch on family secrets, infidelity, sibling rivalry, and many intrigues, which intertwine together and combine to produce one charmingly chaotic yet very well developed story line.

"Family United" (its English title - even though you don't need to be fluent in Spanish to understand that the real translation is "The Grand Spanish Family") mixes the two big passion of Spain - football (or soccer as it is known in other parts of the world) and family. Throw in a wedding setting and naturally a lot of dramatic and poignant moments tinged with really funny scenarios are bound to amuse the viewers.

It is the performances of the ensemble cast which really stand out and no matter how different their personalities are, the 5 brothers prove that what really counts is la familia! 

TODAS LAS MUJERES(ALL THE WOMEN)

PELIKULA

SPANISH FILM FESTIVAL

Cinema 2, Greenbelt 3

This film explores in depth how a guy experiencing a crisis decides to approach all the women in his life for sound pieces of advice. Typical, no? Men cannot solve their problems without consulting the brainier specimen of the human species. Ha!

Kidding aside, you have to prepare yourself to listen closely to the dialogue since the film plays out in the various conversations that Nacho (Eduard Fernandez) has with the different women who have in some way or another influenced him his entire life.

Nacho, a 40 something vet finds himself in a bind after he stole 5 heifers from his father-in-law which he attempts to sell in Portugal. But his plan goes awry when the truck carrying these goods crashes somewhere along the route. His marriage is on the rocks so he cannot really talk to his soon to be ex-wife about his plan since he schemed it with his young mistress.

He turns to an ex-flame who tells him to confess and ask for forgiveness. After ignoring her suggestion, he approaches his mother. A wise woman who is willing to put up half of the money he lost yet at the same time suggests it might be best he goes to jail for his 'crime'. Two more women are consulted and both of them still unable to influence Nacho in a way that he thinks will be beneficial for his own good.

Nacho's common line is that "I'm not a bad person" like this statement would somehow justify his failed plan. Yet in some quiet and subtle manner, each of the conversations he has with these women, mark his ego and his conscience with self awareness of his own failings (not just with the heifers but in his life!) whether he cares to admit it or not. 

Great acting from Eduard Fernandez (an actor I've seen in several Spanish films) whose nuanced expressions reveal a gamut of emotions billowing inside his tension filled brain. Although there is no specific conclusion on how he intends to solve his massive problem, from the conversations alone, one can ascertain that Nacho (whatever he decides to do) will hopefully become more mature and wiser moving forward in his life's journey.

WISH I WAS HERE

Zach Braff, Kate Hudson, 

Joey King, Jason Gad, 

Mandy Patinkin

"Life is an Occasion.
Rise to It"

Aidan Bloom (Zach Braff) is down on his luck. A struggling actor who can't get past auditions, his only brother Noah (Josh Gad) is a bum, his kids' education in a private school is threatened as Aidan's father Gabe (Mandy Patinkin) is terminally ill with cancer so he can no longer afford to pay for their tuition fees.

So Aidan decides to home school them and in the process he teaches them about life. He re-discovers himself and makes life altering decisions about his career, his family and life itself. His volatile past with his strict father helps him make different choices in his parenting style, he courses an alternative path for his career and his relationship with his estranged father is renewed.  

A good family movie that teaches us that the manner in which we were brought up should not be a deterrent or a hindrance to the way we wish to approach our careers, how to raise our kids and just live life as we envision it for ourselves.  

Plenty of life lessons can be learned from "Wish I was Here" as most of the stars give good performances without being overbearing or preachy in their technique of essaying flawed characters whose personalities mimic our own shortcomings and weaknesses. 

I admit I never watched Zach Braff in "Scrubs" but I find myself drawn to his style of writing and directing movies which have a massive appeal since he caters for ordinary people with supposedly boring yet very ordinary lives.

THE GRAND BUDAPEST HOTEL

Ralph Fiennes, Adrien Brody, F. Murray

Abraham, Owen Wilson, Bill Murray,

Willem Dafoe, Jeff Goldblum,

Tony Revolori, Edward Norton

From the director who gave us such distinctively quirky films such as "The Darjeeling Limited" and "The Royal Tenenbaums", comes another gem hemmed from his brilliantly creative mind - The Grand Budapest Hotel.

It recounts the adventures of a hotel concierge named Monsieur Gustave (Ralph Fiennes) who along with his lobby boy, Zero Moustafa (Tony Revolori) set out to unravel the truth behind the mysterious death of one of its distinguished guests. 

What ensues are well crafted scenes upon scenes of complex framework of the narratives being presented through a visually vibrant cinematography, from symmetrical shots, to characters running in slow motion, as well as chase scenes, and explanatory montages - all of which are typically expected and pleasantly anticipated from a Wes Anderson penned film.

The plot itself is quite funny and captivates the audience with its sublimely awkward to the point of being outright ridiculous (in a good way, if there is such a thing!) story line and its numerous yet essential side plots. 

Having said that, I admit there are some shortcomings like certain situations are sometimes built up and then let off easy. Regardless, it didn't detract too much from the main essence of the film -  the beautiful account of the friendship that forms between a poor lobby boy and the legendary concierge who took him under his wing.

Plenty of major stars (Bill Murray, Ed Norton, Adrien Brody, Jude Law to mention a few) add support to the main characters. Even though some appear briefly or in cameo parts, all of them lend credence to the merry assortment of interesting characters they each play.

I could go on and on about the good merits of this whimsical film but I'd recommend that you watch it with an open mind, so we could all nod our heads in agreement and proclaim that this may be the best film yet from director Wes Anderson.

UNA PISTOLA EN CADA MANO(A GUN IN EACH HAND)

(SPAIN)

CINE EUROPA 17

Cinema 2, Shang Cineplex

Rarely do films focus on the emotions or sentiments of men. Perhaps because we associate feelings with women, that somehow men are incapable of being sentimental or emotional. Well, we are in luck since this Spanish film gives us a welcome glimpse into the lives of eight men in their 40s who are suffering some form of identity and/or relationship crisis.

It is presented in five different vignettes that exposes the deepest secrets, fantasies, emotions and sexual fears of these men. The execution of this concept is through several conversations which involve one or two of the eight men at any one time and through their dialogues, a series of details expose bit by bit their lives to some extent. Some details are implied, other facets are openly discussed. All shared with no qualms, no inhibitions and it seems as if they were not aware of any camera taping their conversations. It is that candid and the acting of the ensemble cast of credible Spanish actors is top notch.

Adultery, regret, lust, inadequacy and betrayal are some of the emotions showcased as the men show themselves as vulnerable and incapable of relating to intimacy or are poor at properly communicating their feelings.

The film has some engaging moments although some vignettes are more successful than its whole. Eventually, a party towards the ending reveals that these guys know each other in one way or another. As they socialize with each other, their innermost feelings are once again hidden and only the audience is aware of their flaws and their insecurities. And we are none the wiser for it!

POZITIA COPILULUI(CHILD'S POSE)

(ROMANIA)

CINE EUROPA 17

Cinema 2, Shang CineplexI

First of all, I'd like to say I'm thankful for the annual run of Cine Europa for where else and how else would I be able to watch films from far flung European countries?

It is always fascinating and interesting to see films set in a foreign land as they convey the life and culture of its inhabitants and more often than not also essay sentiments which can either be totally alien or universally felt, no matter what part of the globe you inhabit.

For instance, this Romanian film dramatizes with good measure a mother's profound love for her son. Never mind that the son is a 34 year old good for nothing guy who runs over a child during a tragic car accident. Never mind that he has an estranged relationship with his mother Cornelia, a wealthy architect/interior designer who no doubt has a lot of connections and is willing to do anything to keep him from going to prison. 

Early on, the director goes to great lengths to establish that Cornelia is a power house in society. Her 60th birthday bash is attended by experts in various fields as well as the powerful hierarchy in local politics. It also shows her as being overbearing when it comes to meddling in the affairs of her son. Even though, they have a strained relationship, she asks the housekeeper snooping questions about her son's household. 

These details are neatly presented in long, theatrical scenes which is ably sustained by the lead actress portraying Cornelia. Luminita Gheorghiu gives a captivating performance as the determined mother willing to secure her son's innocence yet at the same time her overpowering nature smothers and paints her as a pitiable irritant that doesn't know when to back off. 

A pure acting filled movie devoid of any fancy background music (which can sometimes be annoying) - it can have the essence of a play but in this case it isn't boring to watch (I'm not saying that plays are boring, mind you!) and it echoes an authentic slice of deep humanity that can either fill you with warmth or with contempt.

Either way, it feels good!

CASSE-TETE CHINOISE(CHINESE PUZZLE)

(FRANCE)

CINE EUROPA 17

Cinema 2, Shang Cineplex

"Chinese Puzzle" is the final installment in a trilogy which began with  L'Auberge Espagnole" (Spanish apartment) in 2002 and was followed in 2005 by "Les Poupees Russe" (Russian Dolls).  

The common factor is Xavier (Roman Durius) who started as a college student sharing an apartment with other students in the first film which I saw back then. The second film (which I never saw) is obviously set in Russia and apparently focused on Xavier after he broke up with Martine (Audrey Tatou) and it is where his relationship with Wendy blooms. 

In this last film, Xavier decides to follow his kids whom his now ex-wife Wendy has decided to uproot back to her native land, America. He is a writer experiencing writer's block and the only apartment he can afford is located in the Chinatown part of New York. All the women he was previously involved with suddenly converging in New York, life for Xavier is pretty complex. As complicated as a Chinese puzzle.

The lightweight film is not without its charms and frustrations as well. It is charming to watch how devoted he is to his kids. On the other scheme of things, I wonder how he can afford to live in such an expensive place like New York on his meager writer's salary. 

It presents a nice microcosm of life in New York - the neighborhoods, the people (mostly his merry mix of diverse friends) and the different pulsating bits and pieces that make up the heart of the city that never sleeps. Even if I didn't see the second film and the first film is merely a blur to me now, it is easy to follow the story of Xavier as a dad navigating through his complex yet very bohemian life in New York.

A fitting end to a trilogy that gave us an unusual and multifaceted character Xavier - a funky, soulful French dude who is not physically attractive but is charming enough for us to get invested in his tangled life.

JAGTEN(THE HUNT)

(DENMARK)

CINE EUROPA 17

Cinema 2, Shang Cineplex

The title of this Danish film implies raw pursuit and violence which I'd have to add eventually does ensue in the middle part of the film. Yet it unfolds in a silent, creep.up.behind.you manner that although you expected it, it can be quite unnerving. Perhaps the idyllic background is to blame as it manages to shield your mind. The low key atmosphere of a small town, the silent snow as it envelops the scenery, and the simple nature of the life of its inhabitants. 

Lucas (Mads Mikkelson) is a teacher at a kindergarten going through a bad divorce and custody battle. He is content with his job and is sociable enough to have a good set of friends. His world is turned upside down when one of his pupils, 5 year old Klara accuses him of inappropriate behavior. 

The audience is immediately made aware that Klara is lying and is merely acting out her anger. But in a quick flash, Lucas' simple life is shattered - his friends turn their back on him, he is shunned in social gatherings with the whole town siding with the little girl solely on the premise that children never lie!

It is quite disturbing to watch as Lucas who enjoys shooting deer during weekends becomes a hunted man. A pariah in a society that is quick to judge without giving someone a chance to defend himself and proclaim his innocence. 

Throughout the entire incident, Klara doesn't fully comprehend what is happening and is protected from any form of scrutiny. Her single lie taking a life of its own, way beyond the normal parameters of good judgement. Unknowingly she herself becomes a victim just like Lucas.

As usual, Mads Mikkelsen is brilliant in his role as Lucas. His haunted, gaunt face really expressive as he struggles to maintain his innocence. And in the final yet pivotal scene where Lucas is shown in the woods during hunting season, it shows that he is stuck in a nightmare that never seems to end.  

"Jagten" was one of the 5 films nominated for the Best Foreign Language Picture in last year's Oscar awards. It lost to the Italian film "La Grande Belleza" about a man living a hedonistic lifestyle. But Denmark's entry rightfully deserved to be recognized as one of the best foreign films for 2014.

FRANCES HA

Greta Gerwig, Adam Driver,

Mickey Sumner, Michael Esper

Frances (Greta Gerwig) is in a league of her own. She works at a dance studio but is not really a dancer. Merely one of the many alternates to the lead. Yet most of the time, she never gets her chance to take over the lead dancer. 

She lives in New York with her best friend Sophie (Mickey Sumner) and she describes their friendship as two girls who are basically the same but have different hair. Soon enough, Sophie moves out of their shared apartment to live in with her boyfriend which basically leaves Frances, homeless. Until she finds an apartment which she shares with two guys but is mostly too broke to pay the full rent. And perhaps to add on to the mysticism of Frances, director Noah Baumbach presents her story in black and white mode. 

But the truth is there is nothing mysterious or mystical about Frances. She is pretty ordinary yet it is admirable how she just never quits whenever the tough gets going. In her case, the situation is mostly tough going yet she just carries on in her insouciance ways. Other lesser beings in her shoes would certainly have quit or who knows gone into some deep depression but not Frances. 

In between her 'dance' gigs, she goes home to visit her parents and relatives in some suburban town. Once there, it seems that she is just one of the guys and fits perfectly well in her surroundings. She meets up with friends and relatives, goes to Church. Everything is just so ordinary. Even her parents are laid back. They don't hound her with questions about her job or her life in New York. She is there just for a visit and after a few days, she returns to her non-life in the Big Apple.

At another instance, at the drop of a hat, she decides to go to Paris just for ONE weekend. Never mind that she just got downsized in her job at the dance studio. Never mind that she has no itinerary. She just hops on a plane, charges it to a credit card which was sent in the mail by some telemarketer. But luckily she was able to stay at the Parisian flat of a friend of friend she just met who offered their place. She is mostly jet lagged, can't seem to get hold of a former classmate who lives in Paris and mostly just roams the streets of Paris without doing any touristy stuff. After all, she was just there for 2 days because she had a meeting on Monday at the dance studio.  Only TWO days in Paris??? Gosh who does that??? 

I guess in some ways, it is interesting to see how the present generation adapt to life. While, most of them are ambitious and very driven, Frances is the complete opposite. But in the end what really matters is that she is not a quitter because as the end credits roll by, you can't help but smile as things are finally picking up for dear old Frances. That somehow. one doesn't really have to worry for her well being as she is quite capable of coping with life and everything it entails. 

Good solid acting from Greta Gerwig in her typical subdued, subtle style. Most of the time, she looks like she doesn't know what she is doing but it is quite suitable for her role as Frances.  By the way, Frances Ha is the abbreviated form of her full name.  It didn't fit in the mail box of her new apartment so she merely shortened it to Frances Ha. An attitude which perfectly describes her personality!

IL CAPITALE UMANO (HUMAN CAPITAL)

MovieMov 4: Italian Cinema Now
Cinema 2, Shang Cineplex

A compelling drama set in contemporary Italy which opens with a night scene of a lone bicyclist being swiped off a road. He is in a coma. We are only shown a SUV but not who was driving and caused the unfortunate accident.

3 chapters follow, each telling different parts of the story before and after the accident from the viewpoint of 3 vital characters. Each chapter offers new information that deepens our understanding of the main characters and how they reacted over the accident. Meanwhile, the victim of the accident remains in the background of these 3 stories.

The first chapter follows Dino whose daughter Serena is dating the son of a rich venture capitalist. Dino owns a small real estate company but then finds himself investing way too much in the 'dubious' often flaky business of the venture capitalist. Basically a social climber, Dino soon finds himself in debt as his initial investment tanks.

The second chapter presents Celia, the lonely trophy wife of the venture capitalist. A former stage actress who has lost her self worth after years of pleasing her imperial husband and looking after their bratty rich son. Valeria Bruni Tedeschi gives a brilliant performance putting a lot of heart into her role.

The final chapter is shown through the eyes of Serena, Dino's daughter. Most revealing of all the chapters, we discover a young sensitive and sensible strong willed girl who is secretly dealing with a far more serious problem. This part of the story weaves together the truth of who drove the SUV and what was her role in covering up the cause of the accident.

All the characters are multi-dimensional as their overlapping stories unfolds with time shifting narrative. Both a contrast as well as a comparison of related tales that shows how people can get so caught up in their own private dramas. They tend to overlook or misinterpret the people around them - especially those who have less power or less clout, whether because of their gender, their class or their age or some combination of the three.

By the way, the human capital is a legal term that refers to the amount that a responsible party pays the family of the victim. A lengthy formula that takes into account the salary the deceased would have earned if he continued working less the expenses that the family incurs without the said 'salary'.  A rather complicated process but the main thing is that the family of the victim is well compensated for their loss.

The film is a cleverly told tale that ends with enough ambiguity for the characters that we the audience are left to form our own conclusions.

LA GRANDE BELLEZZA(THE GREAT BEAUTY)

MovieMov 4: Italian Cinema Now

Cinema 2, Shang Cineplex

This 2013 Oscar award winner for Best Foreign Language film takes off upon the 65th birthday of Jep Gambardella. He is an aging journalist/socialite who is still coasting on a novel he wrote over 40 years ago. He parties all night in the presence of pretty odd characters who are all just as superficial as Jep.

But he is also at his wits end over his hedonistic lifestyle and says out loud in a voice over to nobody in particular "The most important thing I discovered a few days after turning 65 is that I can't waste any more time doing things I don't want to do."

Yet his life of endless partying and his meaningless relationships with the people in his life continues on a daily basis. He is quite a proud person mindful of his immortality yet at the same time he knows he needs to alter and change his life for the better. Despite his fanciful life of leisure, he is always in search for 'the great beauty' which may come in the form of an inspiration for his second novel or also in the guise of a great love affair which unfortunately has eluded him for so long.  

Director Paolo Sorrentino who co-wrote the script regales us with a very artistically and technically beautiful film. Showing us stunningly angled shots of ruins and iconic landmarks from ancient Rome to the modern decadence that exist behind the closed doors of the gated mansions where most of the characters live. It is a perfect blend of layers after layers of eye opening images - a visual tapestry and certainly of 'great beauty'.

But deep within all the layers is Jep Gambardella who is quite a complex character. Actor Toni Servillo is excellently cast as Jep. His facial expressions, his gait and his debonair demeanour is spot on.

Although Jep may live a frivolous existence and does his best to show off as enjoying it, he reveals in voice-overs a deeper awareness of his flaws and those of his society friends. While others treat him as a celebrated literary author because of his single novel (like some one hit wonder singer), he also knows he is not working on a second book and he feels he has nothing more to say that can truly make an impact.

Running at almost 3 hours, the film isn't just about a world of hedonism and whathaveyous. It has quite a reflective tone as Jep can personify anyone in this world. Anyone who is at the crossroads of one's life. Who is trying to find answers to pondering questions. Answers which some may not want to hear or choose to simply ignore as we are too busy living the life we think we are suppose to live. Even though at the back of our minds, we all know life could be much better if only we were brave enough to take the first step towards a better future. 

As for Jep, you would have to stick till the end to find out if he did find his great beauty.

Despite the odd bunch of characters, the sometimes bizarre and absurd side plots thrown at you from all sides, the film is in itself a work of exceptional beauty (for lack of a better word) and that alone is worth all the contemplative mood swings one experiences while watching "La Grande Bellezza". 

ALLACCIATE LE CINTURE(FASTEN YOUR SEATBELTS)

MovieMov 4: Italian Cinema Now

Cinema 2, Shang Cineplex

A film about a couple whose opposite personalities at first vehemently clash against each other; yet find their attraction for each other is too powerful to resist. The first 20 minutes or so of the movie establishes the background as well as the milieu for Elena and Antonio to meet each other. From the get go, something about Antonio's brutally frank demeanour repels Elena who works at an open air bar/cafe.  Although they are both involved with other partners, something draws them closer to each other.  You might call it lust or blind obsession but it happens.

Then the plot jumps to 13 years later when Elena and Antonio are now married with two kids. Antonio hasn't changed he is still carefree and laid back while Elena is still the hard working and clearly a woman with many ambitions for herself, for her business as well as for her family. Naturally, you would say that despite their individual shortcomings and their contrasting personalities, they have a fairly successful marriage. Never mind that Elena is fully aware of Antonio's philandering ways.

Until they are thrown a curve ball by way of a health crisis. During her routine check up, Elena discovers she has breast cancer. Even though the film's title translates to "Fasten your Seatbelts" the ride is not as rough as one would expect. The second part primarily deals with Elena's time in the hospital as she undergoes chemotherapy for her cancer. With the full support of her family (Antonio, her mom, her aunt) and her friends (her best friend the gay Fabio) she is able to handle the chemo sessions even as she takes on a solemnly reflective mood. Quite understandably so as anyone battling a serious illness would be quite pensive about one's future.

For far beyond the daily grind of her thriving business, the constant worry about her husband's infidelity issues - the film basically shows us that the bond between Elena and Antonio remain intact throughout their marriage. That a difference in personalities and in their outlook in life and about life isn't a deterrent in making the marriage work. 

In an unlikely twist towards the end, the director uses a trick to take us back to the beach where it all began. A juxtaposed scene of Elena and Antonio on a bike (13 years ago) and them together in a SUV after he fetches her from the hospital.  I'm not sure this trick worked in the natural flow of the story of Elena and Antonio and neither do I know for sure just what Ferzan Ozpetek (Turkish director who now lives in Italy and has penned many Italian films) wanted to achieve in inserting this flash to the past sequence. 

All I can say and know is that Elena and Antonio's love will surely endure and last a long time and I guess in a love story and life in general ... that is all that truly matters!

NON-STOP

Liam Nesson, Julianne Moore,

Michelle Dockery,  Scoot McNairy

"The Hijacking was just the Beginning"

They say that "Non-Stop" is "Taken" on a plane. Given that it stars Liam Nesson whose career was 'revived' after he was cast in the above mentioned film and it propelled his new career path as an action star. Not that he needed any reviving since Liam Neeson has always been a talented and quite steady character actor. But I like his new action star persona and it suits him well.

In this film, he is Bill Marks, an Air Marshall who is taken to task on a flight from London to New York. Someone has hacked his 'secure network' pager and sends him threatening messages that warn one passenger will be killed within 20 minutes if his demands are not met. The person sending the texts is also quite familiar with Marks personal background and also appears to be on the plane since he mentions things that Marks is doing.

Soon enough, it turns into a whodunit suspense mystery as we try to guess who among the passengers is the 'mastermind' of this sick plot. The tables are also turned when Marks begins to realize that whoever is texting him evidently wants people on the plane to think that Marks is somehow also involved in the plot.

Since the whole film has only one setting - the transatlantic flight - it is easier to navigate through the story. The director also has a way of tricking the audience into thinking that certain characters are suspicious by dropping clues that eventually lead nowhere. It is a good ploy to keep the audience guessing and tuned to the ongoing hijacking but it also makes you lose the bigger picture. Eventually when the real culprit(s) are revealed and their motives are exposed, it does not really make any fair sense because it got too murky in all the action sequences and the plot twists that are thrown at you. 

Thankfully, the mere presence of Liam Nesson can do wonders and he is the true and only reason this averagely predictable film is worth watching. His advancing age does not hinder him. On the contrary it has only cemented his action star cinematic strength. It does not suggest a dwindling of power but rather an experienced weariness that makes his determination all the more dynamic.

LIKE FATHER, LIKE SON

EIGA SAI 2014

Japanese Film Festival

Cinema 2, Shang Cineplex

Little Keita is six years old when his parents find out he is not their biological son. The hospital where he was born made a mistake when the nurse switched babies. It turns out his real family lives in the countryside and they are not as well off as his 'current' family.

This is the premise of this solemn family drama that unfolds flawlessly on screen. The emotions and feelings of all concerned parties are valid and realistically essayed by the ensemble cast. Although it involves a total nightmare situation for the kids who were switched at birth, it seems though they are still quite young to truly comprehend the real situation. It is mostly their distraught parents who bear the grim truth as any parent who are faced with such a likelihood would naturally experience a whole gamut of emotions. Pain, anger, learning to let go even though you have loved the child as your own for 6 long years.

Yet the revelation of the switch also helps clarify some buried questions that have nagged them. Why doesn't their child look like them? How come the mother didn't know from the get go that the baby wasn't her own flesh and blood? How come Keita is not as ambitious or strong willed as his father?  Their inner frustrations are brought to the forefront as the story progresses.

It was disturbingly painful to watch this film. As we are shown the vast difference between the two families, their parenting styles and the contrasting personalities of the kids, we find ourselves taking sides in this complicated conflict. But the manner in how the conflict is manifested through the characters different reactions adds to the poignancy factor of this heartbreaking film.

I also like how the director presented the contrast between both families. How despite being 'poor' and living in the countryside, the shop owner is a very hands on father to his children. His words of wisdom on parenting hit a raw nerve with the rich and ambitious architect who is clearly motivated by his career to the point that he hardly spends any quality time with his growing son. Admittedly, the characterizations of the upper class as being cold and the lower class as warm and loving is a bit of a cliche.

Yet the film never feels gimmicky as director Hirokazu Koreeda uses the situation to examine both the nature and the nurture while dealing with ties that simply cannot be broken and he reflects on the true essence of being a family.

THERE BE DRAGONS

Charlie Cox, Wes Bentley, Dougray Scott

Rodrigo Santoro, Olga Kurylenko

"Even Saints have a Past"

Renowned British director Roland Joffe (The Killing Fields, The Mission, City of Joy) tackles with keen precision the Spanish Civil War which he used as a backdrop to the story of two childhood friends who veer off into different paths. 

When "There be Dragons" was first released in 2011, the CBCP (Catholic Bishops Conference of the Philippines) publicly endorsed it because it featured the life story of Saint Jose Maria Escriva, the founder of Opus Dei. 

In this film, his story is unearthed by a journalist named Roberto Torres (Dougray Scott) who was assigned to write about Jose Maria Escriva, who was then still a candidate for canonization to sainthood. It turns out his estranged father, Judge Manolo Torres (Wes Bentley) was a childhood friend of the founder of Opus Dei. Although Manolo is reluctant at first to recount his past as it still haunts him, he gives in and records it through audio tapes.

This is told in haunting flashbacks as the dying Manolo Torres confesses to his son his crimes and misdeeds circa 1936 when he was a spy working for the Fascist government and he was able to embed himself among the Communist rebels who were led by its leader, Oriol (Rodrigo Santoro). The tale also revolves around the saga of courageous Catholic priest Jose Maria Escriva (Charlie Cox), as well as an ambitious Hungarian volunteer fighter Ildiko (Olga Kurylenko).

So although we are led to believe that this is a biopic of Escriva, the more the film unfolded the more it looked like Manolo Torres had a more pivotal role. Never mind that Manolo Torres is a fictional character and that he was just born out of the figment of Joffe's imagination.  Other than a brief childhood friendship, nothing really connects Manolo and Jose Maria, together. Their stories move forward on parallel tracks that never really intersect or even reflect one another in any meaningful way. 

It also left me wondering how come Jose Maria Escriva's tale was left stranded in the 1930s after he was able to escape and make it safely across the Andorra mountains?  What happened after his escape? How did the Opus Dei flourish? Was his life really 'saintly'?

Perhaps Joffe who is a confessed agnostic didn't want his film to take an overtly religious tone. Perhaps he merely wanted to examine both the goodness and the evil that dwelt in these two men's souls. I can only assume and speculate at this point and form my opinion on merely what was presented in this film.

Having said that, I believe that "There be Dragons" is a good movie, worth seeing. And it should appeal to a wide range of audience regardless of their religious beliefs. The portrayal of the Spanish Civil War is even handed and the action sequences were competent. The cast do their best to flesh out their characters although some of the dialogue can be a tad 'corny' for lack of a better word. It also dealt with redemption, remorse and forgiveness on a wide broad spectrum as essayed by the lives of Manolo Torres and St. Jose Maria Escriva.

Robert Torres said in the film "I think it was Oscar Wilde who said: Every saint has a past and every sinner has a future."

Oscar Wilde was right!

LABOR DAY

Kate Winslet, Josh Brolin

Gattlin Griffith

A coming of age tale set in 1987 (although it seems more like the mid 1970s) unfolds during Labor Day holiday. An unexpected visitor holds a single mother and her son hostage in their own home. It turns out he is an escaped convict although he insists the crime he committed was an accident. 

Josh Brolin plays the mysterious stranger Frank who is quite menacing, physically but eventually turns out he has a heart of gold. I mean anyone who would come across the hunky figure of Josh Brolin would naturally run the other way. Frank's back story is glimpsed through dreamy like flashback sequences sans dialogue. And as his past is revealed interspersed with the ongoing drama, you slowly form an entirely different opinion about his true character.

Once we establish that there is nothing threatening nor menacing about Frank, we feel comfortable about his getting close to Adele (Kate Winslet). After all it really isn't difficult to 'like' Frank, he repairs the house, cooks for them, teaches them to bake a delicious peach pie and he even teaches her son to play baseball.

They are both lonely, lost souls trapped in an unforgiving world who find comfort in each other's company. As expected, Kate Winslet is brilliant in her role. You feel a lot of empathy for Adele as it is revealed that in her distant past she was a fun loving and carefree person, who sadly lost her joie de vivre due to a painful episode in her life. 

Together, Frank and Adele exude a palpable chemistry with an implied underlying sexual tension that is enough to heat the screen yet it isn't laid bare for the audience to feast on. In this case, it is a good element as it doesn't cheapen or vulgarize what Frank and Adele share.

Yet at the same time, it seems that is the only main draw of the film. Aside from the very few minutes of threat and tension of imminent danger as the authorities close in on their search for Frank, the movie pretty much falls flat. 

Since I like and tend to focus on the positive, I'd say "Labor Day" is a tender, nostalgic family drama that is a tense yet powerful dramatization of a deep relationship that blossoms between Frank and Adele. 

ENOUGH SAID

James Gandolfini, Julia Louis-Dreyfus,

Catherine Keener, Toni Collette

I thought that this was James Gandolfini's last film before he died of a massive heart attack in 2013. But it turns out he was able to complete one more before his untimely demise.

Anyway in "Enough Said" he is Albert, a single father who meets Eva (Julia Louis-Dreyfus), a freelance masseuse. They are both single parents to daughters who are about to go off to college. They start dating but soon enough problems crop up (like in any normal relationship) and things don't work out between them.

But that was merely a quick summary of their relationship because the film isn't that simple nor was it too complicated to comprehend. It is an adult romantic comedy that explores the nuances as well as the emotions that each character brings to the relationship. By adult, I mean it is mature given that both Eva and Albert have gone through divorces and heartaches in their past. And not adult in the sense that there is nudity involved. Heh!

I'd say that a large part why this film succeeds is due to the chemistry between its lead characters. And given that they are portrayed by well known TV actors whose acting repertoire include playing mob boss Tony Soprano and Elaine from Seinfeld is a an added bonus.  

There has always been something endearing about Gandolfini even though he portrayed a tough no nonsense mobster in one of the most iconic roles ever created for TV. Perhaps it is his 'smiley' face and gentle facial features despite his giant frame that somehow puts people at ease.

Here as Albert, he is adorable as an ordinary guy just trying to live his life after a messy divorce by being a devoted father to his daughter. He is averagely ordinary and I mean that as a compliment. Albert's embedded confidence and his sense of humour exudes warmth and compassion. Excellent acting from Gandolfini, as expected.

On the other hand, Julia Louis-Dreyfus can sometimes be quite annoying and irritating in general in most of her roles. Hehe.  But this only means she is an effective actress as her annoyance can really get on my nerves.  As Eva, she is a woman with a lot of valid anxieties which is quite normal for any woman about to embark on a new relationship. It makes sense that Eva would be indecisive and insecure and always question herself before she commits to another long term relationship. 

What makes "Enough Said" distinctive is how the director treats the plot devoid of any gimmick. What you see is what you get.  There isn't the sickening mushy factor that is standard in most romantic comedies. The approach is direct and treated in a realistically mature way.  

It is a movie about knowing what you want and pursuing it yet at the same time, it's also about knowing your limitations or what I call your 'non negotiables' well enough that you can wake up in the mornings ... yes, alone but you still have your self respect, intact. 

PRISONERS

Hugh Jackman, Jake Gyllenhaal,
Terrence Howard, Viola Davis, Maria Bello, 

Melissa Leo, Paul Dano

"A Hidden Truth. A Desperate Search"

This intense drama focuses on every parent's worst nightmare. It is Thanksgiving, the Dovers are spending it with their good friends/neighbors, the Birch family. Soon enough, both of their youngest daughters have gone missing after they went off to get a whistle from the Dover residence.  

Highly dramatic moments ensue as a frantic search is launched for the missing girls by the local police headed by a dedicated and methodical detective named Loki (Jake Gyllenhaal). An unlikely suspect named Alex Jones (played by the ever creepy Paul Dano) is held for questioning as he was the driver of a parked RV near where the two girls had played earlier.  I say unlikely because Alex although a grown man has the mind of a 10 year old boy.  So he is released after the mandatory 48 hours of detention without an arrest warrant has lapsed.

This triggers Keller Dover (Hugh Jackman) to take matters into his own hands as he kidnaps Alex Jones and under extreme circumstances proceeds to question him. Chained and hidden in the decrepit bathroom of Dover's late father's house, Alex is constantly beaten, slapped and tortured by Keller as time is running out for the missing girls. Some of the torture scenes are simply implied (which is even worse, in my opinion) but you can tell from his screams the punishment were quite extremely vicious.

This line of 'questioning' runs parallel with the official investigation by Detective Loki as he hunts for other 'usual' suspects and the plot takes on an even darker tone.  Set in a seemingly quiet and small American town overcast with bleak weather, the disturbing story tackles vigilantism, vengeance, guilt and innocence as well as the very thin line between victim and perpetrator.

The movie runs at over two and half hours with a slow yet powerful approach. It gets tough as we watch the villain (Alex Jones) turn into a victim himself as the tables are turned and the hero (Keller Dover) transforms in a subtle yet quite effectively forceful manner into for lack of a better word, a monster.  All in the name of finding his beloved daughter but it is quite difficult to justify the punishment/torture he inflicts on the suspect/victim.

The whole narrative leads towards a gritty and open ended conclusion that will leave a lump in your throat. As well as give you a chance to take in oxygen since somewhere between all the high octane dramatic scenes you stop breathing from all the fervent and cringe-worthy action. This even as you contemplate if the end does justify the means and if the methods applied to attain those means are legitimate and humane.

A great cast led by Hugh Jackman, Melissa Leo and Jake Gyllenhaal heralds this thriller into one of the best crime stories ever filmed for the screen.  Just be sure you are in the right frame of mind to stomach it. 

PHILOMENA

Judi Dench, Steve Coogan

"These Two Unlikely Companions are on a 

Journey to Find her Long Lost Son"

This is a true story based on the 2009 investigative book "The Lost Child of Philomena Lee" by BBC correspondent Martin Sixsmith. He is portrayed by Steve Coogan in a meaty role that truly exposes his raw talent with some appropriate comedic flair. 

Philomena (Judi Dench) seeks his help in tracing her son whom she gave up for adoption in the 1960s. Actually, she was forced by the nuns who run a home for unwed mothers to sign a waiver. This document states she will not be privy to any information about his whereabouts once he is adopted.    Years later, hounded by her conscience and her guilt she perseveres in finding her son and her only hope is to channel it through Martin Sixsmith.  Perfect timing as he has been disgraced and is willing to take on a human interest story to salvage his reputation.

A journey that takes them from the Irish convent (where her toddler son grew up) and all the way to America where her son lived upon his adoption by an American couple.   It isn't an easy journey as they both face upheavals and challenges along the way.  Such as the refusal of the convent to share any information to hitting a blank wall once they reach America.

Interspersed with flashback throughout the film, we get to see Philomena as a young woman with child. Her difficult circumstances as her Catholic upbringing reigns supreme. A child out of wedlock was a big taboo back in the 1960s in predominantly Catholic Ireland.  As a Catholic, it was uncomfortable for me to watch the nuns strict adherence to the doctrines of the Church.  Although, I admit it is no secret that the Church has committed way too many deplorable acts that truly counteracts their main purpose.  It is a very touchy subject to broach and one I am not willing to comment on in this review.

The versatile performances from the two lead actors as unlikely 'partners' in a daunting quest are brilliant. Their repertoire is spot on even as their characters are polar opposites of each other. It was interesting to watch the very different reactions of their characters to the numerous hurdles they faced in their hunt for her son. Although their search leads to a sad ending, the fact that they finally find a fitting closure to her long anguishing tale is worth all the hardships they encounter. 

"Philomena" is a tale of anguish, guilt, redemption and forgiveness. It had a tendency to drag on but surely the poignant characterization of Philomena and Sixsmith by Steve Coogan and Dame Judi Dench is enough to elevate this sad yet uplifting story to a movie worth watching.

ABOUT TIME

Domhnall Gleeson, Rachel McAdams,

Bill Nighy, Lindsay Duncan

"What if every Moment in Life, 

came with a Second Chance?"

I would be the last person on earth to appreciate a film about time travel. I consider myself a realist so fantasy and sci-fi themed movies don't necessarily fit into my realm. 

But there is something quite delightful about this particular film that made me appreciate this genre. It could be that the lead actor is not your typical oozing with sex appeal type yet he gets the girl (Rachel McAdams) through his charming wits.  It might be that the film had a light airy vibe that even a heavy downpour during their wedding didn't cast a damper.  

It could be that aside from the time travel (which dominates most scenes) there are also cherished life lessons to take to heart through the father (Bill Nighy) and son bonding moments.  It could also be the voice over narration (which I especially love in movies).  Or it could be a mix of all of these factors which make "About Time" quite a pleasant viewing experience.

Set in England with its lush countryside and the bustling city of London, Tim (Domhnall Gleeson) discovers at the age of 21 that he has the ability to travel back in time and alter his life course.  A trait he inherited from his father and somehow manifests in the men in their family.  He doesn't really do anything quite drastic as he cannot change history, only his life events.  But soon enough he discovers that this ability has its limits and can be quite dangerous too if he 'veers' in the wrong direction.   

A typical Richard Curtis fare (Love Actually, Notting Hill), this rom-com is well acted, beautifully told with some endearing characters, add in some heartfelt tender moments that will certainly put a smile on your face.