The Yellow Handkerchief (2008, U.S.)

This is a film about an unlikely trio of three very lonely people. Martine is a beautiful teenager who feels trapped in her backwater Louisiana town. When Gordy, an awkward itinerant, stops in town, she somehow ends up in his convertible, heading across the river. Then they pick up Brett, a quiet man who was just released from prison. When a storm (Hurricane Katrina) hits, they take shelter in a hotel together. As they continue their journey through the destruction of Louisiana after the hurricane, they begin to piece together solutions to each other's loneliness. Martine senses Brett's loneliness, and Brett senses Gordy's. They help each other find the answers that they can't find for themselves.

The beauty of this film is in its simplicity and in the quiet brilliance of the actors. I don't know if I've ever seen William Hurt in action, but this role seemed tailored for him. Kristen Stewart, who I always say is an under-appreciated actor, was solid in this role (although it seemed almost like it didn't offer he much of a challenge). And Eddie Redmayne has yet to cease amazing me. I can't think of a single person who plays the socially awkward, sweetly well-meaning, intelligent young man as well as he does. Breathtaking. Add to that the slow, almost languid pace and the authentic Louisiana scenery, and you've got a winner.

I liked this film. I think the main thing that would have made me like it more was if the focus was spread more evenly across the ensemble. Although there are arguably three main characters, the focus is obviously on Brett. More balance would have improved an already wonderful film.

Rating: 4.0

Letters to Juliet (2010, U.S.)

I thought that this movie looked really cute, and I like Amanda Seyfried quite a bit. Needless to say, I was quite disappointed.

The whole thing felt way too contrived, with stilted dialogue that almost bordered on wooden at times (and had a false ring a majority of the time). Overall, the writing was terrible. Aside from the dialogue problems, a lot of the plot was just too much of a stretch when it could have been much smoother. Parts were too easy, convenient, and basically unrealistic. I think "oversimplified" is the best word I can come up with.

The actors weren't bad. Seyfriend wasn't her best, but still cute. Her fiance was a Mexican actor playing a goofy maybe-Italian, which was a very strange choice. They do get extra points for casting Vanessa Redgrave, who is an absolute film goddess. I did like the male lead, who had very good comedic timing. He had a very strong (and to my untrained ear, accurate) British accent, but every now and then it went a little weird—turns out he's Australian. He also had something in his face (though not his acting) that reminded me of Heath Ledger, which was odd.

Anyway, this was a sweet concept that was terribly executed. Very unfortunate.

Rating: 2.0

Kill Your Darlings (2006, Sweden)

A Swedish film made in the States in English. A dark comedy / drama about a guy with writer's block who essentially allows himself to be kidnapped by an insane woman who wants to help him find his muse. A story within a story about two suicidal people and their handler en route to Vegas to meet up with their celebrity psychologist, who is actually using them for a sick reality show.

Clearly, this was a bizarre film.

However, it was also quite good. Trying to piece together the overlapping stories definitely kept my attention, as did trying to figure the motivation of the characters. And on the note of characters, I have to rave about my primary motivation for seeing this film, which of course would be the opportunity to see Alexander Skarsgård playing a suicidal transvestite. I usually try to avoid sounding like a fan girl, but he really is something. His performance was so subtle, an especially glowing adjective when you consider he is a giant, masculine, 6'4" sexy Swede in a skirt and heels and nail polish and eye shadow and a wig, and he seems as fragile, awkward, sweet, and shy as a 12-year-old girl. He was just beautiful, and though I'm probably biased, I thought he stole the show.

As I mentioned before, I liked trying to puzzle out what was going on and why. In trying to search for an ultimate meaning (a very difficult task), I finally decided it was simply about two road trips, but it was also about many characters fighting through depression and trying to identify their reasons for soldiering on through life. I watched the making of feature, and everyone from the writer to the actors struggled to answer the question "What is this film about?" So I figure my interpretation is as good as any.

I must end with a closing note on the score, as usual. This one was unique, and yet it reminded me of something I can't quite place. It used a lot of vibraphone (or it may have been marimba) and had a sort of steady and upbeat yet depressing feel. It is so hard to explain in words, but it fit the plot and tone of the film to a tee. If I've said it once, I've said it a million times, but a fitting score can really make or break a movie. It wasn't the only factor, but Jon Rekdal's score sure helped make this one.

I'm ready for some more Swedish film now, please, Netflix! To be more specific, I'm ready for some more Swedish film featuring Alexander Skarsgård...

Rating: 3.5

Camille (2007, U.S.)

Possibly the most bizarre movie I have ever, ever seen.

Silas is a thief who marries his parole officer's niece Camille. He's not allowed out of the state, but he uses his future wife's uncle's sympathies in the hope that he can use his honeymoon to escape to Canada. Camille has always dreamed of honeymooning at Niagara Falls, and she cheerfully deludes herself into thinking that the honeymoon will change her scummy man for the better.

What follows is the strangest road trip movie of all time. Because Silas and Camille get in a fatal motorcycle accident. That's right, fatal. Camille dies, but she keeps on with her honeymoon. And it's her death that finally pushes Silas in the right direction.

They have all sorts of adventures, running from the police, hanging out with carnies, visiting the falls... Franco and Miller give just the right touch of humor and seriousness to this macabre love story, creating a strangely enjoyable movie experience.

The Lucky Ones (2008, U.S.)

I stumbled across this movie when looking for Rachel McAdams projects. Apparently, it was pulled after only a one week limited release. I think this is an absolute tragedy, because this film is incredible.

Three soldiers have been wounded in Iraq. Two are coming home on a 30-day leave, and the third has finished his third (and last) tour of duty. They're stranded in New York because of a blackout and decide to drive cross-country to get to their final destinations.

The tagline says, "Sometimes losing your way home means finding yourself," and this captures the feel entirely. The three think they know what they're coming home to, but they don't. Colee (McAdams) is fascinated with the country, wanting to stop and sight-see everywhere she goes. This emphasizes her lack of a home. TK is worried about his ability to be sexually intimate after a groin injury, and he ends up finding emotional intimacy instead. And Cheaver has made great sacrifices for his country, but his greatest sacrifice is for his son. The various reactions of people they run into around the country—from the hero worship to the political anti-war comments to the cruelty of college girls mocking the wounded Army girl—are really an interesting representative sample of the real American sentiment, I think. Wonderful.

I've always found Tim Robbins to be a good actor, if not one with an overwhelming presence. I thought this was the case in this film, where his quiet, older nature didn't dominate the other two characters. The same can be said for Michael Peña, who is an actor with lots of unharnessed potential. He was one of my favorites in the ensamble of Crash, and he's just as great here. And of course, I adore Rachel McAdams. She is good in every role she takes, whether as a romantic lead or a solitary Iraq War veteran or a Mean Girl. Aside from being an incredibly talented actress, she has a beautiful face that looks vulnerable open and makes you want to stare into her eyes and memorize her face. Or maybe it's just me... I think I'd want to look like Rachel McAdams if I could look like anyone!

Anyway, I think this film is an amazing, amazing film about modern war. I liked Stop-Loss in its depiction of the effect the memory of war has on men's psyches. But I thought this was almost more poweful in its depiction of the effect of returning from a war to a home from which they've been long absent. It is really, really a shame that this had such a limited theatrical engagement. Everyone should see this film.

Rating: 4.0

Smoke Signals (1998, U.S.)

Sherman Alexie is an author I've really gotten into recently. (His YA book The Absolutely True Diary of a Part Time Indian is the best YA book I've ever read, I think.) I was in Spokane for a job interview, and he's a Spokane/Couer d'Alene Indian. So what better movie to watch in the Spokane airport on my laptop?

I think I didn't appreciate it as much as I could have because I had heard it was a comedy and was expecting it to be a comedy. It's much more serious than that. It's a coming of age story about two native boys who are unsure about their places in the world. One is a sheltered orphan, the other is much more worldly and has issues with his father. It was a really beautiful film about self-discovery on many levels.

I would definitely recommend this film. The characters are very real, and you feel as if you can relate to them on some level (even though their problems are so different). The scenery is beautiful. The writing is great. And it will make you think. Good film.

Rating: 3.5

Y tu mamá también (2001, Mexico)

I pretty much had the same reaction to Y tu mamá también as I did to The Human Stain. It was really quite wonderfully done, and yet I wished there was something more. And again, I couldn't quite put my finger on what that "more" would be.

Let me start by saying that I think Alfonso Cuarón is great. After all, he did direct my favorite of the first five Harry Potter films (Prisoner of Azkaban) as well as the absolutely brilliantly done Children of Men. Clearly, he has some flexible skills.

This film took a road trip sex-fest and turned it into an examination of life, love, and friendship. It's about growing up. It's about living the life you want to live before it's too late. It's about the stuff of friendships, especially those forged from opposite sides of the tracks. And in the background is the beauty of Mexico and traditional life and the changing nature of the country. Yet for all that, it's still funny in addition to being touching and dramatic.

Superb acting. Superb writing. Superb cinematography. I think that only two things are keeping me from giving this one a higher rating. First, the guys were just a little too "teenage" for me. Which was the point, I guess, and it wouldn't have worked any other way, but that doesn't mean I have to enjoy the typical behavior of typical boys. Secondly, the ending left me reeling with questions. Mainly, "Why did their friendship turn out the way it did?" Definitely a thought-provoker, from the instant the credits start rolling.

Rating: 3.5