The Hundred-Foot Journey (2014)

“The Hundred-Foot Journey” is largely a movie about food. It tries to romanticize the kitchen but sadly can’t quite get the audience to get emotional over their dinner like “Ratatouille” or “Babette’s Feast” can. The story of an Indian family opening a restaurant across the street from the French restaurant owned by Madame Mallory - a very, well, chauvinistic French chef stuck in her Frenchiness - tells of intertwining culture and overcoming bias. It is as familiar as it is stereotypical. A re-told story, however, rarely means a bad movie for me. A re-told story with one-note characters and boring, surface-y conflict does.

Helen Mirren and Om Puri are the veteran actors of the ensemble and also the most enjoyable thing to watch on-screen. The casting choice for Madame Mallory is interesting, of course, in that Mirren is not actually French. The weight of Mallory’s domineering character, however, would not have been the same were a lesser-known French actress cast in her stead. Mirren established herself as a regal presence worthy of respect in her Oscar-winning portrayal of Queen Elizabeth in “The Queen.” In “The Hundred-Foot Journey” Papa Kadam even addresses her at one point by saying, “You sit up there like a queen” to point out her self-satisfied, controlling, and entitled demeanor. To help establish Madame Mallory’s character as the standoffish and insensitive neighbor to the Kadam family, the choice to cast Helen Mirren – a well-established, automatic attention-grabbing actress, as well as offering a stark contrast to Puri – was only appropriate.

Likewise, the choice to cast Om Puri was well suited (though perhaps more obvious due to being an Indian actor). He has a great ability to play off the characters around him – particularly Madame Mallory. In one scene, when Madame Mallory grows upset at the loud Indian music, Puri nonchalantly tosses the tablecloth and calmly thanks her for barging into their home. In response to her condescending behavior, he promptly turns the music back up and starts dancing joyfully. This shows pride in his culture and feisty defiance to mistreatment. Their early scenes show the cultural difference with amusing conflict, but unfortunately these scenes are few.

These two performances are great and show an interesting side to the convergence and celebration of culture in the way I wish the food or the story had been able to. I'm sure this theme could have been better illustrated were these two talented actors given more time to interact and carry the story instead of allowing the younger actors and struggling plot filled with clichés to dominate. Manish Dayal plays Papa Kadam's son - the cooking prodigy who goes on to advance his career in other fancy Frenchy restaurants - and Charlotte le Bon plays the sous-chef of Madame Mallory's restaurant. The attempts at a romantic side-story seem half-hearted and unbelievable and both characters seem devoid of passion. It seems the son, Hassan, is the protagonist, but his character is underdeveloped and without much dramatic arc. I was left unsatisfied.
It's a tale as old as time where you know the end as soon as the beginning ensues. But "The Hundred-Foot Journey" brings nothing new to an old story. Any element with potential to enthrall is thrown in with laziness: the humor is brief and mediocre; the story takes no risks. Each actor's talent seems wasted and each potential conflict comes without tension. Of course, mediocre feel-good movies have their place. Nothing particular, though, stands out enough to make me remember it or desire to watch it again.

Ultimately, everything about the movie felt hollow. With Lasse Hallström as director, I expected "Chocolat" 2.0 and with Oprah as an executive producer, I expected something sentimental with a high probability of soap and cheese. I will admit, the time spent watching wasn't unpleasant. I just hoped that a movie with any kind of food subtext would leave me craving and hungry rather than checking my watch. 4/10

The Spectacular Now (2013)

High school comedies filled with irony and overstated humor are enjoyable. It is much more rare, however, to have an American teen movie grounded in reality. "The Spectacular Now" offers an unadulterated window into the fear and vulnerability behind adolescents.

Sutter Keely (Miles Teller) is a suave, self-assured, John Cusack-esque high school senior. He's one of those guys that's charming and popular: quick with the quip, and smooth with the ladies. But he's nice enough to be friendly to those outside his circle. His budding alcoholism and devil-may-care attitude towards his future causes his girlfriend Cassidy (Brie Larson) to break up with him. There isn't any melodrama to accompany the breakup - Cassidy merely honestly understands that she wants a future and Sutter can't even imagine one; he's too busy hiding behind his flask and living in the "now."

Sutter wakes up one morning on a stranger's lawn hung over and meets Aimee (Shailene Woodley). Aimee is a shy, bookish girl who - she claims - Sutter wouldn't notice normally. She isn't socially awkward; she is an intelligent, ambitious girl who stays out of the spotlight. Unless you actually were dictionary-definiton popular in high school (you know who you are) this was probably you. Sutter helps her with her paper route and she helps him with geometry. An invitation to a party, an invitation to prom, and the two become friends. Their relationship may be mismatched and the two of them may have different expectations, but it's still a beautiful shot for them to learn from each other. Sutter doesn't prey on Aimee, though we still wonder if she hasn't gotten mixed up in something complicated and inevitably unhealthy. Sutter's fleeting intentions aren't enough to warrant dislike from the audience, however; we just see him in all of his imperfections. It's like watching a dear friend go through a rough patch. Teller is gifted at bringing this kind of depth to a character.

Daddy-issues play no small role in Sutter's inner complexity. It's apparent that there is no dad in the picture, but Sutter seeks to find him at a kind of climax. The scene is less culminating than it is revealing. So much can be understood behind Sutter's alcoholism and outlook on life by this short scene with his father (sensitively played by Kyle Chandler - a much different father figure than Coach Taylor in "Friday Night Lights"). In one poignant moment, Aimee and Sutter fumble for change to pay for their drinks that the father neglects to have enough for.

Woodley, too, is a thoughtful actress. She was impressive in "The Descendants" and she doesn't disappoint in this more sensitive role. She's driven and dreamy, but still naïve. You can't blame her for being infatuated with Sutter and her flippant use of "I love you." Who hasn't been swept off their feet in a romance not meant to last? Her guileless performance, though, doesn't succumb to pity-prompting. It may seem she gives more weight to the relationship than he does, but she is still strong and capable.
It's deeply affecting. James Ponsoldt terrifically directs without settling for stereotypes. The script is much more concerned for how teens really think and feel rather than outlandish, raunchy outside behavior. Sutter and Aimee's intimate scene is emotional and unpatronizing; Ponsoldt handles the scene with sensitivity and care. Teller and Woodley have believable, understated chemistry and it feels true to life: real and vulnerable.

The film is left somewhat open-ended, and I wouldn't have wanted it any other way. Life is open-ended. You know that Sutter has been given ample opportunity now to grow and change, but whether or not he actually will is up to him. "The real hardship is me. It's always been me." Living in the moment isn't all that it's cracked up to be sometimes and perhaps it's not worth it to stay in that moment, no matter how spectacular it may be. To live in the now is less important than to see a future.

These coming of age stories can sometimes feel old, but this soulful and sincere portrait of youth takes the genre on a new, more realistic turn. And it's spectacular. 9/10

Playtime (1967)

Art film is sometimes hard to understand or to relate with. “Playtime” is an excellent example of a film that lacks a conventional storyline but instead the production design, including the use of color, the frequent use of framing, and the enormous set communicates subtle messages of industrial technologies ultimately obstructing normal human interaction.

The large, ambitious set for “Playtime” was created especially for the film. Each towering building and major skyscraper was designed to create this mood of modernity through the sharp lines, the unusual shapes, and the bleak but bright colors. This simultaneously makes the audience feel both that this is something artificial and out of the ordinary, but also makes them feel like they are there experiencing it. There aren’t camera tricks to make things seem enlarged, it is actually designed that big so it has a much more overwhelming effect. The largeness of the effect almost seems to communicate that the presence of the artificial (including these buildings) is more important than the presence of the people themselves. The people are so small and insignificant in comparison.

The film frequently incorporates framing techniques that are unique to “Playtime” and Tati’s style. This is most noticeable in two scenes. In the office scene, every desk is surrounded by a box, or cubicles, as we now know them. This represents the closed off nature of the society and once again the dominance of the architecture over the people. Later, when Monsieur Hulot goes to an apartment, the entirety of the scene is filmed from the exterior. It looks like TV sets piled on top of one another with glimpses into private life, but with the lack of dialogue, nothing is learned beyond the surface action. This was a fascinating technique that really helped employ this theme of the decline of human interaction. There are some amusing physical gags particularly with our protagonist, but nevertheless you can’t help but feel that you are watching a TV show and all you will ever get is that one frame of reference – nothing deeper.

Lastly, the color scheme largely influences the mood. It is filmed in color, but still gives off the impression that it is black and white with its use of grey, blue, black, and white. Most of the buildings are white, while sharp contrasts are provided with black lines and black furniture. However, in most scenes there is some other color present. In the office, there is a man with a bright blue clipboard. Your eyes can’t help but follow him as the color stands out amongst the bleak. This, again, reinforces that technology and design dominate over the people, even though our eyes follow what little life we can find. The color also changes from beginning to end and other colors are much more apparent by the end than by the beginning symbolizing society’s triumph over the impending technology.

Though the plot (or lack thereof) is difficult to follow, this is a story that can be understood by paying close attention to these subtle cues created and manipulated by the set itself. In “Playtime,” the set is just as much a character as the actors are.

All the analysis aside (did you guys really make it through all that?) This movie is pretty boring and has little to no redeeming entertainment value. I wouldn't recommend it to anyone unless you're looking for a little artistic reflection. 3/10

The DUFF (2015)

As a huge fan of "Easy A" and "Mean Girls," I was anxious to check out Ari Sandel's "The DUFF." This might be because I didn't really go to high school so I like to live vicariously through these entertaining, stereotype-filled movies. Though really, they make high school seem miserable (and the one year I did attend was difficult enough) so maybe it just makes me feel better about missing out on the drama but still getting to understand it through comedy. Anyway, I doubt I'm alone in thinking that there is something incredibly enjoyable about these teen-comedies when they're well-written. Though the other two films are still funnier and have better jokes, "The DUFF" holds its own with a great heroine and a romance that is actually worth rooting for.

Mae Whitman stars as the vampire-movie-loving, overalls-wearing, boy-fearing Bianca Piper. She hangs out with Jess (Skyler Samuels) and Casey (Bianca Santos) - the textbook hot girls - who steal the affections and admiration of most of the school. At a party, Bianca's neighbor and QB hunk Wes Rush (Robbie Amell) brings it to her attention that she is the DUFF - the designated ugly fat friend - to her hotter counterparts. She is the gatekeeper; she is the approachable one whom men can exploit and find out the dirty deets on her less accessible, intimidating, dateable best friends.

This fuels a devastating and overwhelming identity crisis for Bianca. But when she realizes that Wes is right and that people only talk to her as a way to get to Jess and Casey, she determines to rid herself of "duff-ness" in order to get with her crush Toby (Nick Eversman). In exchange for helping Wes with science, he agrees to help and advise her in her predicament. So, yes, this entire premise is filled with stereotypes and clichés. There's the high school paper/assignment that culminates the entire point of the movie, the Eliza Doolitle trying on clothes scene, the quirky teacher and the neglecting parent (Ken Jeong and Allison Janney in two thankless roles, although Janney does get a great lawnmower intro), the homecoming dance, the catty girls, the gossip.

However, though it's entirely flooded with things we've already seen, these characters are surprisingly not wooden. This is most evident in the unexpectedly layered Wesley Rush. Neither of the love interests in "Easy A" or "Mean Girls" are terribly fleshed out nor are they characters anyone really remembers or cares about. Amell is a talented actor and he brings wit, charm, and sweetness to an archetype typically left to surface exploration only. Consequently, "The DUFF" is more than just a teenage farce and actually a sweet rom-com. Bianca and Wes share some very human moments together and their friendship is credible. It's a relationship that goes beyond the initial spark of a kiss.
Even Bianca's friendship with Jess and Casey is filled with more positive vibes than animosity. However, it's a shame there isn't more substance to that relationship. It almost works against the movie's ultimately positive message about friendship overcoming labels and support for self-confidence and discovery. It's still refreshing to see a friendship that, even when on a break, doesn't turn to cruel backstabbing and catty name-calling or treachery. In the end, the only character that feels wooden is queen-bee, mean girl, "pre-famous" Madison (Bella Thorne). This stereotype works to fuel the conflicts of embarrassing viral videos and Wes's on-again/off-again girlfriend.

Another thing that makes "The DUFF" stick out next to these other (and mostly better) teen-movies is its timely capture of technology's dissonant effect on 21st century high-schoolers. Though people in 2015 may not necessarily end a friendship by making a scene of unfriending them on Facebook, this still provides for commentary on the social-media infused existence we all live in. The wide shots of the entire school staring down at their phones, for example, are telling of these imminent issues. In addition, Snapchat, Pinterest, and Instagram references alongside onscreen hashtags and animations contribute to the overall idea that these viral videos and networks hover over constantly. This is simultaneously the most enjoyable feature and the biggest drawback. Inevitably this will date the movie and prevent future generations from understanding all of the jokes.

(On a side note, I'm pretty sure that kids these days don't say "Viral? Viral" to get things to circulate. Idk, but I'm pretty sure that's not how the viral thing works).

But despite some jokes that fall flat, and some clichés that go too far to "inspire", there is something that any insecure girl (including myself) can connect with. Obviously Bianca - who's as real as they come, bedazzled with piercings, and beautiful if not typeface hot - is not ugly, nor fat. But as Wes clarifies at the beginning - a DUFF doesn't have to be those things. It's the idea. Anyone with insecurities is a DUFF. I'm a DUFF. You've probably been a DUFF. We all feel inadequate in some way and struggle to overcome labels. Sometimes those cheesy messages about being yourself are worth repeating, I guess.
If nothing else, it's hard to dismiss a film that gives Mae Whitman her long overdue spotlight. Up until now, she has been a stalwart supporting role in things like "Arrested Development," "Parenthood," and more recently "Perks of Being a Wallflower." It's time for her talent to be displayed at the forefront. Her comedic timing is impeccable and it's fun to see her shine. This honest, adorable and relatable actress deserves this springboard for more complex roles.

So, no. I don't think "The DUFF" will pass the test of time like others of its genre have been able to. But it's still a snappy comedy full of charm and worth a watch. 7/10

The Theory of Everything (2014)

So how well do two biopics about famous British intellects hold well in the same season? Well, as the Oscars have come and gone it seems Eddie Redmayne bested Benedict Cumberbatch for the best actor race, though the "The Imitation Game" was a more satisfying movie. "The Theory of Everything," nevertheless, tells a compelling story of man versus disease and the brilliant performance of Redmayne makes it worth every penny (even if the movie fails to live up to its own title and explore deep into theories on the universe or to portray a satisfying romance).

I wouldn't go so far as to say that this is a one-trick movie, but Eddie Redmayne is certainly the main reason it's worth the time. Redmayne tackles the daunting task of playing Stephen Hawking - a brilliant physicist with Lou Gehrig's disease - with care and precision. It's not easy to play a man with such a limiting physical condition and he seems to not only struggle under the physical limitations but also think and feel as though he were so limited. This is particularly manifest in his astounding and flawless depiction of the degeneration of the disease despite the film not being shot chronologically. His twinkling eyes, however, never falter to show his youthful, intelligent spirit in search of answers about the universe.

Redmayne's performance is reminiscent of Daniel Day Lewis in his famed portrayal of a man with cerebral palsy in "My Left Foot" (1989). This performance, which won Lewis his first Oscar, was only the beginning of an impressive career and there is no doubt that Redmayne's resumé will soon include other noteworthy performances. I am not venturing to say that Redmayne is the next Daniel Day Lewis, but I am anxious to see what comes next in his career.

"The Theory of Everything" shines because of his performance, but there is something dissatisfying about the film primarily focusing on the romance between Hawking and Jane Wilde (gracefully, quietly played by Felicity Jones). It should be noted that the screenplay is based off Wilde's memoirs "Traveling to Infinity: My Life with Stephen" and not Hawking's own book "A Brief History of Time." That makes this a historical romance rather than a philosophical exploration of cosmology. This isn't a bait and switch situation, the trailers clearly marketed it to be such a film. Though his scientific work is much more inspiring than their disheartening romance, the film takes us through their relationship - spanning from their college years, to their marriage, to the birth of their three children, and to their eventual separation. It certainly wasn't a love story to sweep you off your feet or make you feel confident in romance. None of this is inherently bad - the film's honest and poignant take on Jane and Stephen's struggling marriage is as refreshing as it is exhausting. But perhaps I was hoping for a different film.

Hawking's scientific theories are groundbreaking and revolutionary. Though director James Marsh addresses the ideas of black holes, science vs. religion, and quantum mechanics, these themes are only touched upon at surface level. Limited to the romance formula that it subscribes to, it dares not explore beyond the top layer or tap into these theories that significantly impact the human existence. With spiraling camerawork up staircases or following the milk swirl in the coffee, the film teases at dappling into deeper questioning of infinity and space. Though it is possible to convey science for the layman, the film fails to reach its full potential to edify, inspire or provoke critical thinking by sticking to a more conventional story. We catch a glimpse of who Stephen Hawking was, but don't get the full story behind his fame.
"The Theory of Everything" is still an emotional, sophisticated, well-balanced film. The supporting cast was well-chosen, including David Thewlis, Charlie Cox, and Maxine Peake. The lovely Felicity Jones especially stands out with her graceful, yet intense portrayal of a conflicted wife. The cinematography and music also brilliantly come together to cultivate Hawking's quest for a  “simple unifying equation that explains everything in the universe.” So while the movie may not have moved me as a whole, there are elements that did, especially Redmayne. It's a performance piece that, by winning its acting awards, accomplished what it set out to do. However, it is far more preoccupied with its performances than it is with telling a compelling story. 6/10