Angels Crest

Director: Gaby Dellal

Cast: Thomas Dekker, Lynn Collins, Elizabeth McGovern, Joseph Morgan, Jeremy Piven, Mira Sorvino, Kate Walsh

Genre: 2011

Running time: 93 mins.

Rating:★★

The small working-class of Angels Crest is a tight-knit community resting quietly in one of the most vast and stunningly beautiful valleys of the Rocky Mountains. Ethan (Thomas Dekker), one of the town's residents, is a young father but not much more than a kid himself. He has no choice but to look after his three year old son Nate, since Nate's mother, Cindy (Lynn Collins), is an alcoholic. Then one snowy day, Ethan's good intentions are thwarted by a moment of thoughtlessness, resulting in tragedy. A local prosecutor (Jeremy Piven) haunted by his past pursues Ethan, and the ensuing confusion and casting of blame starts tearing the town apart.

With an "apartment" in what seems to be an old factory with a "Peter Pan"-esque appearance. Childlike drawings on the walls, birthday party decorations, windows cracked with holes, and Ethan and his son, Nate sharing a bed. No mother around, just a couple of Lost Boys about to play Indians and make snowmen in the snow. The first question that comes to mine is why do they need to drive up part of a mountain and into the woods to make snowmen? The Ethan character tries to points out the majestic view of the clouds surrounding the icy mountain ahead of them to his son, yes, but it seems a bit foolish. Especially, when it's quite clear that he has enough trouble taking care of himself, let alone his improperly dress son. Then again, there wouldn't be a film or a plot if Ethan was sensible. It would be sensible not to leave your sleeping son (locked or not) in the freezing cold to witness the quiet peacefulness of pure nature, just saying. Geez Louise, when the mother is introduced, she's a fucking wild alcoholic whore of a woman who only seems to own up to her motherly duties or love is when Nate goes missing. 

Wow, what a winning pair they must have made. Both having major issues with their gender-parental role models. They both realize that they're going to have to leave Neverland and grow up...if they can. Overall, it's a meh film. You know what the plot is, but it isn't captivating enough to care that the sequences were poorly and predictably piece together. There really wasn't much character development. Yes, you understand and empathize the tearing of the soul kind of remorse the two parents are going through, but, but it was so vapidly executed as a whole that the producers and director can mask their major failure with pulling on the audience's emotions. 

The Night They Raided Minsky's

Director: William Friedkin

Cast: Jason Robards, Britt Ekland, Norman Wisdom, Bert Lahr

Genre: Comedy 1968

Running time: 99 mins. 

Rating:★★★

Rachel (Brit Ekland), a beautiful young Amish woman who leaves her Pennsylvania home and comes to New York City in hopes of becoming a dancer and ends up doing something quite different: inventing the striptease! Raymond Paine (Jason Robards), the somewhat sleazy star of Minsky's burlesque show, who takes an interest in Rachel's many charms. But his admiration is challenged by Chick Williams (Norman Wisdom), Raymond's comedy partner for the past ten years. And when Rachel's dress is torn accidentally, she plays it up and finds herself the object of even more affection- from the very appreciative audience! The leader of an anti-vice group has everyone arrested, but not before Rachel becomes the toast of the town.

Burlesque, where one can come view society being made fun of and girls are a bit vulgar. Now, where does that leave a pious, shy, and naive Amish young woman like Rachel (Brit Ekland)? Especially, when she has runaway from home and her father is looking for her. Well, what starts out as a clever ploy to fool the newspapers and police becomes a battle of morals and the most glorious sensuous striptease!

This film is definitely an example of the kind of comedy made in the late sixties, but is far from being timeless. There's a predictability in its comedic realness. Two guys falling for the same girl, who holds tight to her beliefs and is more aware of the things that are strange to her than the men's affection. She is also naively unaware of the role she is playing in the overall scheme until discovers a new (sometimes dangerous) confidence in herself. The original 1968, The Producers, with a slightly similar theme, is timeless (probably, as in definitely, due to it being a Mel Brooks' film - enough said)! The film does have one of the most beloved character actor, Denholm Elliott (Trading Places, A Room With A View, Raider's of the Lost Arc), so that works to its favor. It also a demonstrates the era from which burlesque was born with vaudeville qualities plus sex that conflicted with Puritan ethics impressively. The clips of actual daily city life, burlesque, and forties flapper music, to give the film a more "historically" real base, can be a little overdone.

The Bird Can't Fly

Director: Threes Anna

Cast: Barbara Hershey, John Kani, Tony Kgeorge, Yusuf Davids

Genre: Drama 2007

Running time: 89 mins.

Rating:★★★★

Melody (Hershey) returns home to Fairlands for the funeral of her estranged daughter June. But the town has almost disappeared under the encroaching desert. She also has to confront the fact that she has a 10 year-old grandson, River, whose existence she knew nothing about prior. Melody decides to take River away with her but he is resistant. He has worked out an ambitious plan to survive, by breeding the ostriches he and his mother used to feed. His father, Scoop, an idle musician and the town's postman, wants her to leave because he has a secret to hide. A series of confrontations ensues until Melody discovers the truth. It's only when a sandstorm forces Melody and River to take shelter together, that Melody faces some painful facts about her past, which allows both of them to reach an understanding and begin a new future together.

Mourning and embalming of a woman by a group of women who obliviously love the recently deceased. Though no words are spoken, there in the darkness of the night with only the candles beacon this brief initial encounter from the loving community of women giving the audience an intuitive sense of the emotions being endured. Then in a quick switch of pace, we view a no-nonsense-cold-private chief, Melody (Barbara Hershey), who likes things are certain way, has worked hard to be in the position she's in, and seems to be damned if anyone will do anything to bring her off her high horse. Except for the phone call relaying her estrange daughter's, June, death. The chaos of the pouring rain and the rush of people in the night mixed with the multitude of transportation issues through the deserts of Africa, and the hauntingly lack of civilization in a dying villiage illustrates the psychological termoil Melody is struggling with. And it is clear that Melody has forgotten how to put herself in others' shoes, to trust in others' judgement, and compassion for others, when she first attempts to interact with River (Yusuf Davids). In River is where she has met her match, for he is a natural born leader, stubborn, curious, and a vast imagination, which makes the development of the two's bond more desirable to watch develop. The flies that constantly swarm River's father, Scoop (Tony Kgeorge), seems to symbolize either death or deadly secret that he is not telling Melody. 

But is the symbolism behind the ostrich and the egg? Why, like The Lord of the Flies, does River have his "followers" trying to catch one? Why is the name of the hotel, where Melody use to work, disappearing into the desert? Perhaps, the life she thought she knew or never got a chance to know, especially with her daughter, will be long gone and forgotten if nothing is done to keep it alive. You learn that there were many misunderstandings and misguided hatred between River, Melody, and Scoop that when they are finally able to connect with the love they shared towards June, a rebirth and new freedom occurs. The ostrich is the free spirit and a rare beauty, which was June in River's mind. Perhaps it was the same for Scoop and that is why he kept the letters from being given or sent to/by June. Scoop was trying to tame and caged her in all the wrong ways that it unintentionally killed her, therefore leaving him with regret and a desire to fix his mistakes with River.  Melody, herself, tried to cage June in a way that made June rebel and unable to tell her own mother that she was pregnant. The ostrich egg was River waiting to be hatched and cared for, loved, and tamed. 

This film has so many underlining themes that it is impossible pick them up or fully understand in one sitting, which makes it a more beautiful and powerful film. Though the TV quality in the cinematography gives the illusion  that it is going to suck major, at least intially, it becomes more apparent that it is a well thought out tool to allow the audience to bare witness (a fly on the wall, if you will) to the events that unfold throughout the film. 

Hello Herman

Director: Michelle Danner

Cast: Norman Reedus, Martha Higareda, Garrett Backstrom, Rob Estes, Andy McPhee

Genre: Drama 2012

Running time: 88 mins.

Rating:★★★

Sixteen-year-old Herman Howards (Garrett Backstrom) makes a fateful decision. He enters his suburban school and commits a terrible act violence. Seconds before his arrest he emails his idol, infamous journalist Lax Morales (Norman Reedus), telling him, "I want to tell my story on your show." Haunted by his own past, Morales is forced to confront the troubled teenager, now an inmate with an uncertain future.

"If we hope to heal the pain, we must first discover the cause." -Ancient Proberb. This opening quote is the theme to how the stage is being laid out and the events that unravel into plot. Though, some of the more recent films that I've seen in which the "act" or the end scene is shown to the audience first, in an attempt to intice the audience to immediately fixated on how the character's got that point that they choose not to avoid, have annoyed the shit out of me because of the way the film presents it. Films like The Scenic Route, a man having crazied stare with a Mohawk , sitting down in the middle of nowhere, covered in blood, his buddy dead on the ground, and that's it! Hardly a " Oh my God, Dude! This film is gonna be badass! I gotta see what happened!" This film, however, touches a base with everybody. Similar events that we have either experienced first hand or stories reported on the news, but we never thought that much on how or why it came to this point, where adolescents commit such violence.

Indeed, we all have issues and demons or even a troubled past, but never result in murder and violence. Lax Morales (Norman Reedus), a journalist and this boy's idol, definitely seemed to demons or skeletons in his closet that he desperately trying to surpress.  Why, exactly? We're not sure yet. Now, when the two characters start doing their dialogues, Morales brings up an interesting subject ( one that has been on parental and political minds as to it having any affect on the youths' morals) of video games, where the objective is to shoot as many people as you can, in order to score more points. He also asked the typical question as to if Herman (Garrett Backstrom) was bullied at school by other students and/or teachers. Herman seems overly cocky (as usual with this age group, they don't know shit because there's still a lot they haven't dealt with. For the most part, many of them are still in the safety of their parent's money and household), asking personal questions about Morales' past violent actions that can never be taken back. A past that may have been for a story, but doesn't make Morales feel almost just like Herman. It is a bit frightening, what can be found on the internet: like downloading shooting games that made it "easier" for Herman to do what he did and instructions on how to make your own pipe bombs. Psychological issues that bring up Morales's question as to why his mother didn't suspect anything or figure it out. Things don't just happen, there are always psychological and physical elements or interactions taking affect that can intertwine further back than one is consciously or unconsciously aware of. Parents or other people can sometimes be so wrapped up in their own business, unresolved psychological issues, or say/do something to that person that they maybe unaware on how that person may interpret or be affected by it. Again, things don't just happen! Oooo you can find things in the internet that doesn't mean you know everything because you haven't experienced everything first hand. Ignorance will always come back to haunt you eventually. "I didn't do anything," can still make a person of fault to a tragic outcome. By the end of the film, both characters come to finally deal with their own demons and come back to their humanity. 

This film is one to question the audiences own life and decisions as well as the decisions made in society. We are not as alone as one may think of themselves. 

The Majestic

Director: Frank Darabont

Cast: Jim Carrey, Bob Balaban, Brent Briscoe, Jeffrey DeMunn, Amanda Detmer, Allen Garfield, Hal Holbrook, Laurie Holden, Martin Landau, Ron Rifkin, David Ogden Stiers, James Whitmore

Genre: Drama 2001

Running time: 154 mins.

Rating:★★

Peter (Jim Carrey), a Hollywood screenwriter who stumbles into tiny Lawson, California, with his memory blanked out by an auto accident. There, he's mistaken by the citizenry to be a long-lost war hero....an identity that Peter also comes to believe while restoring the town's shuttered movie palace and romancing the girl (Laurie Holden) he supposedly left behind. It's the perfect life and, perhaps, the perfect lie. But the truth is bound to surface.

A movie lover in the 1950's, living what he thinks is a perfect life in a city that's glamorous  Hollywood. B-movie screenwriter, whose work gets changed by higher ups and he doesn't haven't the courage to stand up for himself. His perfect wannabe actress girlfriend leaves him and lastly, he's being accused of being a Communist, making the studio wanting to do with him until it clears up. If it clears up. Some perfect life. It isn't until the accident and he lands himself on the shore in a small town with no memory that he finally finds genuine kindness and acceptance. However, he's being confused for someone else. With Martin Landau as your father, hell who cares.

It becomes apparent that prior to the accident, Peter was slowly losing the pure joy for moving pictures and his sense of self. Post accident, he is surrounded by people who still carry that joy in their hearts that is going remind Peter why he wanted to become a screenwriter in the first point. The latter, is getting a little ahead of myself because the Peter character lost his memory. Nevertheless, aiding in reopening the town's palace of a theater, The Majestic. Heartwarming as the film is and has an organically subtle story with continuity; the film is predictable. One could argue that similar to a great deal (not all mind you, I'm not implying that) of the films of the 1950's had a predictable formula. Therefore because this film is set in the fifties and it's plot is surrounded by the pure joy of movies that the predictability of the plot is reminiscent of that era in a modern way and shouldn't matter. Well, it matters to me, GOD BLAMMIT!

As a child, I loved Jim Carrey. When the Mask came out, I was like "yeah this man is the shit!" Now, he's up there with Will Ferrell, where if I never see another one of their films again, I'd be okay with that. There would have to be a really well casted group of actors working with them for me to possibly to reconsider. And this film does has a well-casted group of actors, it hardly changes my opinion on Jim Carrey.

The Help

Director: Tate Taylor

Cast: Jessica Chastain, Viola Davis, Bryce Dallas Howard, Allison Janney, Octavia Spencer, Emma Stone

Genre: Drama 2011

Running time: 146 mins.

Rating:★★★

A story about very different, extraordinary women in the 1960's South who build an unlikely friendship around a secret writing project- one that breaks society's rules and puts them all at risk. 

Though, the audience is easily transported back to the South and the Sixties, but isn't clear what the connection between the hired help being the glue of these Southern housewives, the ladies who desperately want to have children, and the one Southern lady who would rather be a serious writer than a "Stepford Wife." Black and white etiquette, overly polite, bigotry, racism, and always dressing to the nines is what Aibileen and Skeeter (Emma Stone) are fighting against to be themselves. The connection of the three groups is the novel Skeeter wants to write on what it's like to be maid, how it feels to be a black woman raising white children, and the prejudices of black maids using their white employer's toilet. With a little courage, maybe frustration, and spiritual guidance that Aibileen agreed to tell her story to Skeeter. Illegal it maybe and initial disapproval from other maids, but the courage to do what's right is one of the driving force to finish. It's disheartening to witness these black maids compassion, brains, and having more dignity that the white women and having to unwillingly submit to the unwritten law of the white world.

However, as the story continues to unfold, that there are even some white women having to abide by these unwritten law just to keep themselves from being shunned. When the book is finally published, stirs up trouble, but also brings forth the what needed to happen in their world. It's never to late to find courage in oneself, love your enemies, and to tell the truth.

Howl

Director: Rob Epstein and Jeffrey Friedman

Cast: James Franco, David Strathairn, Jon Hamm, Bob Balaban, Alessandro Nivola, Treat Williams, Mary Louise-Parker, Jeff Daniels

Genre: Biography/Drama 2010

Running time: 84 mins.

Rating:★

Allen Ginsberg (James Franco) recounts the road trips, love affairs, and search for personal liberation that led to the most timeless, electrifying, and controversial work of his career: Howl. Pushing the limits and challenging the mainstream, the passionate, and provocative poem Howl and it's publisher find themselves on trial for obscenity, with prosecutor Ralph McIntosh (David Strathairn) setting out to have the book banned, while defense attorney Jake Ehrlich (Jon Hamm) fervently argues for freedom of speech and creative expression. The proceedings veer from the comically absurd to the passionate as a host of unusual witnesses (Jeff Daniels, Mary Louise-Parker, Treat Williams, Alessandro Nivola) pit generation against generation and art against fear in front of conservative Judge Clayton Horn (Bob Balaban). 

What an existential beginning? "Every word in this film was spoken by the actual people portrayed. In that sense this film is like a documentary. In every other side, it is different." In case you had any doubt it was 1955, it tells you and gives you footage, music, and photos of that time. The film is also begins in black and white. This is the world that Allen Ginsberg lives and writes about. This "documentary" and the way James Franco portrayed Ginsberg makes him seem like an typical egotistical artist. The surreal-impressionist, graphic novel animation of one of his poems is over the top. In fact the film's illustration of the events is as scattered as jazz, which may be the point, but it hardly keeps my attention. The past is in black and white, the "interview" with Ginsberg in washed out-dark contrast-blue undertones, and vibrant reds for the court trial. Bullshit, bullshit, bullshit!!! I'm coming to this film not knowing anything about this writer and leaving it with a artsy-fartsy-root cannal drilling- bore of a film that made me turn it off 18 minutes in. I went to art school, I don't need bare witness to someone who reminds me of people I knew while in school on screen. I can walk out the door and do that in person. This film is like "OK I GET IT! NOW GET ON WITH IT!" Franco narrating Ginsberg's Howl is like listening to the adults of the Peanuts' cartoon: Waaah, Wah, Waaaaah. Shut the fuck up! If I was interested in reading Howl, I would read it for myself not be lectured about it! It's ashame to turn it off so soon because it's wonderfully casted. Indeed, the majority of the films today hold your hand through the whole film, so that you understand what's going on without having to think at all! However, there are ways (not black and white guidelines or anything set in stone) to be subtle and allow the audience to ponder and understand what is going on under the surface of the plot. This film does not. It's a film that took too many drugs, drank to much coffee, and hasn't slept in days. 

Blue Sunshine

Director: Jeff Lieberman 

Cast: Zalman King, Deborah Winters, Mark Goddard, Robert Walden, Alice Ghostley, Stefen Gierasch

Genre: Horror/Thriller 1978

Running time: 90 mins.

Rating:★★

At a party, someone goes insane and murders three women. Falsely accused of the brutal killings, Jerry is on the run. More bizarre killings continue with alarming fruquency all over town. Trying to clear his name, Jerry discovers the shocking truth...people are losing their hair and turning into violent psychopaths and the connection maybe a drug all the murderers took a decade before. Soon, if Jerry can't stop it, the horror will become uncontrollable... the horror caused by Blue Sunshine!

Headaches, hair falling out, irritability, nightmares, and complete delirium with the full blue moon as the "guide" to each character being introduced until it finally comes to the party, where our hero Jerry shows up to the film. Then after the initial three murders and havin read the synopsis, I can help but wonder, if all this is happening because of a drug that people took a decade ago, what was the original intent of the drug? Was it an antibiotic? A vaccine? Or just the new drug to get off on? As Jerry continues to try to clear his name of the party murders, he breaks into the house of another murder scene with a similarity to the one he witnessed. He relives that murder in his mind, almost making wonder if he's starting to suffer the symptoms of the drug too. 

An acid drug, Blue Sunshine, sold by Ed Flemming, running forCongress candidate, back in his college years at Stanford ten years prior. You find that the people, who are suffering from the drug and are going on a killing spree, went to Stanford the same time Flemming did and bought from him. Why is this Flemming guy claming up then, when hearing the name of the drug (aside from the obvious)? The film never answers that and leaves the audience with Jerry tranquilizing Flemming's right-hand man with text on the screen about what was medically discovered about Flemming's guy and what the U.S. Government is doing to control the matter. Leaving the audience a bit frightened that this kind of thing could happen and no satisfying conclusion. 

Fantastic seventies' red undertones, dark contrasts, and magnificent make-up artwork! Kind of wish there were more violence, just so I can bear witness of the creatively inventive era in the special effects/ make-up. But at last, there wasn't and with its ending too, it left me a bit dissatisfied. It could have been pushed a bit further.

Ghosts of Mississippi

Director: Rob Reiner

Cast: Alec Baldwin, Whoopi Goldberg, James Woods, Craig T. Nelson, William H. Macy

Genre: Drama 1996

Running time: 130 mins.

Rating:★★★★

In 1963, Myrlie Evers (Whoopi Goldberg) worked for the conviction of the white supremacist who murdered her husband, heroic civil rights leader Medgar Evers, through two hung juries and over 30 years. 

As much as there has been great deal of people fighting for civil rights and as much as we have progressed in carrying out such equality, it is historical events as this film illustrates that reminds us two things. One, we haven't really progressed toward true equality and how much fear and ignorance will bring the true horror of mankind can lash out on each other. How can a woman, like Myrlie Evers, keep her dignity and her strength when racial prejudice is working against her? As well as many don't see the point rehashing the past through another trial when it's the past? Is it too late to do right thing? It is when it was a political crime, a loss of a beloved husband, and the murder still roams free. Determination and passion can achieve the goal in mind, but it takes patience too. 

But with most of the witnesses dead and most of the evidence gone, the only chance, lawyer, Bobby DeLaughter (Alec Baldwin) has in winning this case is to resurrect the dead! It becomes all too clear that THAT is easier said than done. "Legally integrated, but emotionally always segregated." Now, isn't that bit of truth hard to swallow and heartbreaking, even looking at the society we live in today.

But after justice was finally served, a feeling of overwhelming joy! It just goes to show that it is never too late to do the right thing! A compelling film from beginning to end!

Scenic Route

Director: Kevin Goetz and Michael Goetz

Cast: Josh Duhamel, Dan Fogler

Genre: Drama/Thriller 2013

Running time: 86 mins.

Rating:★

Life-long friends Mitchell (Josh Duhamel) and Carter (Dan Fogler) embark on a buddy, but end up broken down in the middle of a hostile desert. As their situation becomes more deadly, they defend into a brutally honest assessment of each other's lives. Their close bond is tested by harsh elements of nature and the unforgiving words traded back and forth. Soon their anger and fear pushes them into a deadly fight for their lives that is the ultimate test of their friendship.

It is quite clear that Carter (Fogler) is the most psychologically healthy and content with who he is of the two. He attempts to give a reality check on how much Mitchell has sold out and discarded the important things that used to be a part of who he was for a woman, who has him wrapped around her finger. Mitchell has therefore become a very repressed man and a yuppy. All Carter wants to do is reconnect with Mitchell he once knew, a man who loved another woman and played music, so he stages a break- down of his car. His plan works to no avail. 

With the vastness and lack of life-form, that the cinematography allows you to see, you feel just as frustrated as they do, but also sets a stage of what could be a battleground. This however, brings a predictability to the film. Yes, it is intriguing to be the invisible third party witnessing the chemistry of old friends reconnecting and being honest with one another, as close friends do, but putting them in the middle of nowhere...where! Where! Not a lot of people drive through very often and they have barely any food...Shit is going down! Why? Because it's a "Thriller" movie. Must keep the audience entertained somehow and have them anxious to tell all their friends to see, right? Money, money, money!!! I enjoyed Dan Fogler's performance the most, probably because his character is my kind of guy and the type of people that I like to surround myself with. But there's no real point watching the rest of the film because it already give you a glimpse of how this story ends.

London River

Director: Rachid Bouchareb

Cast: Brenda Blethyn, Sotigui Kouyate

Genre: Drama 2009

Running time: 88 mins.

Rating:★★★★

Set against the backdrop of the July 7th terrorist attacks of 2005, the story follows Elizabeth (Brenda Blethyn) from a small farming community in Guernsey as she travels to London in the immediate aftermath of the failing to her from her daughter. Elizabeth is disturbed by the confusion of the metropolis and above all, by the predominantly Muslim neighborhood where her daughter lived. Her fear and prejudice escalate when she discovers her daughter was converting to Islam as she keeps crossing paths with Ousmane (Sotigui Kouyate), a West African Muslim who has come from France to find his missing son. Although they come from very different backgrounds, Elizabeth and Ousmane share the same hope of finding their children alive. Putting aside their cultural differences, they give each other the strength to continue the search and maintain their faith humanity.

The cinematography introduces the two characters with very little close ups and more with vast open landscapes of cliffs, forests, vineyards, cathedrals, and wilderness. Illustrating how small and lost they are, searching for something that is missing, but seemly to psychologically enormous to find again. Both of them are trying to continue on with the normality in their daily lives, but it is quite clear that, whatever it is, it's eating away within. A spiritual answer desired and then the bombing happens, hope for that answer is demanded. Especially when both have their estranged adult children are missing. The two meet, when Ousmane notices that Elizabeth's daughter and his son know each other from Arabic classes at a mosque. Cultural differences clash and ignorance, mostly on Elizabeth's end, but the two must work together if they want to find their children. The bond Ousmane and Elizabeth form as they give each other hope and emotional support is extremely moving. Elizabeth soon realizes that they aren't as different as she thought. In the end, is finding what they who they were looking for, enough closure and peace in their search? 

Lucky

Director: Gil Cates Jr.

Cast: Colin Hanks, Ari Graynor, Ann-Margret, Jeffrey Tambor

Genre: Comedy 2011

Running time: 103 mins.

Rating:★

After Ben (Colin Hanks) I wins the lottery, Lucy(Ari Graynor)- his childhood crush- suddenly becomes obtainable. But she has hidden agenda...a desire to appropriate all of Ben's newfound wealth. Not everything is as it seems and Lucy realizes that she may have married more than she bargained for when she discovers Ben's pastimes include the occasional murder. As the bodies start to pile up, so do her problems and Lucy quickly appreciates that covering up for a fledgling serial killer is not as easy as it seems. If these newlyweds are going to make it work they will have to deal with some skeletons in their closet...literally. 

Geez-lousie, do these characters have some psychological issues that seem to stem from childhood. There are some people that we have all observed, from one point or another, who seemed to be stuck in their high school persona or shell. Their mannerisms, fashion sense, and hairstyle. Either life wasn't as good as it was in high school or it was so torturous that they can't move past it and grow into a better sense of self. Ben, Lucy, and their boss, Steve embody these traits, one way or another, as they are introduced on screen. A self-consciencous and timid individual with feeling that he could one day snap (almost in a similar manner as Terrance Stamp in The Collector or Anthony Perkins in Psycho), Ben has boring job as an accountant in a firm that withholds his childhood crush and also the receptionist in the firm, Lucy. A naive brat, who probably still plays with her dollies as an escape from her own lousy, dead-end life. A parakeet, who she was promised by the pet shop owner would speak words (even though it has been a year), is her newest "doll." Her fling with her boss, Steve, was most likely another way that she hoped would help escape her caged life into a better one. When he ends it, Lucy childishly pouts and daydreams what she would do to him as revenge. Steve was perhaps a jock or one of the popular people in high school, now has a successful job, probably a house, and wife too. But something is missing in his life and might have been the reason he had the affair with Lucy. However, it is clear that he is too much of a pussy and is worried what his co-workers, bosses, and perhaps his wife too would do if they found out he was fooling around with "trash." 

Then Ben wins the lottery with the only person who is overjoyed about this is his mother. Steve and Lucy want something from him masked with a "best friend" screen, but it's all very phony. And another little secret is revealed, a possible skeleton in his closet. Serial killer? A comedic Hitchcock rip-off? Oh yeah. Ben's a brunette and Lucy is a blonde. However, with everyone getting more around Ben with his "lottery win," you really hope he wacks them all off. I'll help! 

Ruby Sparks

Director: Jonathan Dayton and Valerie Faris

Cast: Paul Dano, Zoe Kazan, Antonio Banderas, Annette Bening, Steve Coogan, Elliott Gould, Chris Messina

Genre: Comedy/Romance 2011

Running time: 104 mins.

Rating:★★½ 

Struggling with writer's block and a lackluster love life, once-famous novelist (Paul Dano) creates a beautiful fictional character named Ruby (Zoe Kazan) who inspires him. But not only does this bring his work to life...it also brings Ruby to life...literally! Face-to-face with an actual relationship with his once-virtual girlfriend, Calvin must now decide whether to pen this love story or let it write itself.

Calvin is a very insecure and depressed writer in a rut and feeling like a complete failure. Who could ever love him for him, when he's only seen for one novel that he wrote when he was 19. Calvin has a dog named Scottie that he only got because his psychologist suggested it would help, but is just as afraid as Calvin is. We come to realize that he is a bit of a control freak especially when it comes to his relationships with women. It isn't until he meets Ruby in the park that he finally found his match and the inspiration to his next novel. The problem is she's from his dreams and his main fictional character. But no person, fictional or not, is simple as Calvin soon finds about Ruby. He may have written her, but she suddenly manifests Ruby is a extremely complex individual and a woman that he doesn't have as much control over as he thought. With that, comes the joys of romance mixed in with struggles and frustrations of a real relationship. The real questions to ask, "Is it making either of them happy?"  and "When is he going to tell her the truth?" Whatever the answers may be, Calvin found love, compassion, and a better sense of self.

Though this film is a fantasy, a romance, and comedic fiction, there are elements that is very relatable. Finding someone who will love you for you and visa versa can be very difficult and a lot of times seems pointless. Paul Dano's performance is a bit Woody Allen, which I'm not sure if it was intentional or not, but works very well for his character. A bit artsy-fartsy too with its dark contrasts and unsteady camera work. Yet, the modern architecture in Calvin's apartment is completely up my alley. And Annette Benning and Antonio Bandedas playing the parents is freakin' fantastic!! What a stranger than fiction sort of film!