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Eden (I) (2012)
10/10
A rare example of an important movie that people need to see.
30 November 2012
Human trafficking is such an antiseptic term. It intellectualizes and softens something that is absolutely horrific. It's the type of term that lives in the world of academia and statistics. There's no emotional impact, no default outrage, no real teeth to it. I prefer to call it what it is, slavery. At this moment it is estimated that up to 4 million people internationally and up to 50,000 people domestically are held by human trafficking rings.

To put a finer point on it… there are, at this moment, 50,000 people owned as slaves in the United States. Not historically, not descendants of freed slaves, but actual living breathing human beings living as slaves right now. This is not just a forced labor situation either; we are talking about forced prostitution.

Some are sold by their parents, some are recruited into domestic service jobs only to find out when they are in another country with no ability to leave what the job really is, and other are taken right off the streets in the US and forced into it.

A majority are women and almost all are under 18.

These numbers are jarring, alarming, and disgusting and nowhere near enough people are aware of them.

Eden is the true story of Chong Kim, a Korean American woman who, at the age of 19, went to a bar with a fake ID, had a drink with a very nice fireman who offered her a ride home. He pulled over to make a phone call and by the time she realized that something was wrong… it was too late. She woke up in the trunk of a car and began a harrowing two year long nightmare of isolation, forced prostitution, and every type of abuse and degradation you can imagine. This is not an easy or comfortable film to watch, but it is about something so very important that I believe it needs to be seen. Much like Damian Harris's "Gardens of the Night," which follows the younger spectrum of this abhorrent practice, it sheds light on a world so blackly dark and hidden from view that most people don't know that it exists.

Unlike "Gardens," which shows a world so vile and reprehensible that it exists entirely behind the curtains and closed doors, "Eden," shows a normalized and, in some ways, accepted trade. It's in the shadows, yes, but it is still in the light. The people who trade in it are somewhat open about it. There are parties with men in suits, fraternity parties, and underground S&M clubs where this type of traffic is a normal part of business. It's an entirely corrupt world where even the law cannot be trusted.

Director Megan Griffiths does an outstanding job of finding the small pieces of humanity in a dehumanized world and contrasts them with the inherent brutality of the situation. Her direction is unflinching but not exploitative, honest but never preachy, and powerful without being manipulative.

The performances are phenomenal across the board but the film is moored by two standouts. Jamie Chung creates a heartbreakingly real woman whose sweetness and innocence are stripped away. Matt O'Leary gives an amazingly nuanced performance as Eden's crack smoking handler. He is hateful and repellent, but is also very real.

This is a rare film in that it has changed the way I look at certain things. You hear terms like "human trafficking," and "forced prostitution," and are justifiably horrified, but they are just abstract concepts. Seeing the reality of women forced to live in dark storage lockers, four to a room on bunk beds, and knowing that it is happening now, in my country both horrified and sickened me. Suddenly, these concepts were no longer concepts, but living breathing facts.

In a world where millionaire athletes and musicians throw the world slave around it is fairly sobering to have the reality of it shown so plainly.

I rarely use the term "important," to describe films as even the most "important" films rarely are. Usually it really means "self important." This film however deals with an issue most of us would rather pretend doesn't exist, but that is far more important than can be expressed.

"Eden" shows evil in its truest form. The evil that allows people to profit from suffering, the evil that exists when good people don't stand up for what is decent, the evil that exists in a world where girls (and let's be clear they are GIRLS) can be treated as disposable property.

Related Films:

Very Young Girls- Documentary about teenage girls forced into prostitution.

Gardens of the Nigh- Fiction film about a girl kidnapped into the world of child sex trade.

More at www.thefilmthugs.com
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6/10
Could have been amazing.
29 October 2010
I have never disliked Dax Shepherd. His work on Punk'd was funny for what it was, he was great in "Idiocracy" and, from my limited exposure to him on that set, he is a damned nice guy. He has made some bad movies, that isn't in question, but when the checks start being written who among us is really gonna say no? So, knowing that Dax can be quite funny, and reading the synopsis of this film I had decent hopes. This is a mockumentary about Dax trying to launch himself as a martial arts movie star, even though he has no training. We follow him and his producer friend around as they try to get studio interest, attach stars, and get the thing made.

The problem is that it isn't that funny. It's funny, but just not very. The problem with making a movie like this is that you have to make it look real while still maintaining comic timing. These two things don't work together easily. This movie is full of overlong scenes, timing that is just slow enough to flatten jokes, and silences that go on too long. These things are a part of this type of film and can work if they are turned into comic beats of their own (look at the work of Chris Guest for how to do this). Sadly they aren't here.

What we are left with, instead, is a somewhat funny movie that could have been a VERY funny movie. Dax does have ability, he just needs to take the time to develop it. I wasn't terribly disappointed, because there were some really great moments, fantastic cameos, and truly funny performances, but they aren't enough to get past the flat timing and lifeless direction.
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10/10
Heartbreaking and Powerful
29 October 2010
Warning: Spoilers
I am going to soap box it here for a second. The MPAA (those fine folk who decide what rating a film will receive) ticks me off to no end. Their system feels arbitrary, outdated, and stupid. You can only use the "F" word once in the non literal sense and maintain a PG-13 rating. Because that's the problem, kids hearing the "f" word too many times. For want of any other description, it is terribly stupid.

Why do I bring this up? Well, because the film I watched tonight, a powerful and incredibly touching film has been assigned an NC-17 rating for a sex scene that is not erotic, not violent, not disturbing. It is graphic, but more that that it is sad. Really sad. I'll talk more about this later, but the idea that we have a system that gives "The Human Centipede," "Hostel 1&2″ and all of the "Saw" movies an R rating without a second thought gives this film an NC-17 stuns me. I honestly cannot make sense of it. This is a beautiful, touching, and wonderfully authentic film that deserves a shot at release. There is no logical way a reasonable human being could say that this is less appropriate for a teenager than any of those listed above. For some reason we think graphic torture is fine, but sex and nudity will be the downfall of us all.

My favorite poem is T.S. Eliot's "The Love Song of J. Alfred Prufrock." I've always identified with it and I think it is one of the finest pieces of writing ever produced. Specifically I am enamored with the line, "Shall I, after tea and cake and ices have the strength to force the situation to its crisis." This describes a situation most of us have been in. You're in a relationship that is failing, you know it's failing, the other person knows, your friends know, but it just hasn't reached that crisis point that forces it to end. That is what this film is about.

Most films center on the beginnings of a relationship (the honeymoon), the middle (where things have reached a comfort point), or the divorce proceedings, but you rarely get the moment when the relationship dies. It's hard to present well and it's difficult to watch. This is what happens when the things that were once funny and cute aren't funny or cute anymore. We've all been there and it is painful.

If you think of a relationship as having a life then Blue Valentine is that life at the moment of death where the life that is dying flashes in front of your eyes. There is a combination of present time and flashback showing how these two people came together and how the inevitably fell apart.

Gossling and Williams are both superb in this film. He plays all the clumsy sweetness and frustration of Dean perfectly, and she plays the damage and need to be loved with a quiet power that is absent from most performances today.

These are two people with a very idealized and romanticized view of love. They view it as something that is there or it isn't. From their backgrounds it is obvious why. Neither of them has any exposure to a couple working at it, tending to the relationship. Things are good, then they aren't. Williams character says early on, "How can you trust your feelings when they can just disappear like that?" That is a question that has plagued people as long as there have been relationships. At some point your feelings will change and if you are unequipped to change and grow with them, then any relationship is destined to fail.

The two stories (falling in love and falling apart) are told in intersecting circles. You see the beginning of the end, then you see how they meet, you see the relationship deteriorate further, then you see their amazing first date. This style allows you to see how they fell in love with each other, but also showed the lack of foundation the ultimately doomed them. Through most of the film it is obvious that the only reason they stayed together as long as they did is because of their daughter, and their absolute love for her.

Gosling as the devoted, hard working father is touching, Williams as the overworked mother who seems to be raising her husband along with her daughter is touching. The dynamic of goofy, doting father, and concerned, loving mother is brilliantly played, and creates some genuinely sweet and heartbreaking moments.

This is not an easy movie to watch. It's quite brutal, emotionally, at times. The scene that earned the NC-17 is quite graphic. The two go away to a romantic hotel for a night to try and rediscover something, and end up in a graphic sex scene that is just hard to watch. It's not as graphic as say "Monsters Ball," but there is a resistance by Williams, followed by a resignation, she doesn't want to, but she'll do it. It isn't violent, it isn't a glamorized rape scene, it's hard to watch because it's just so sad. There is no way to deny that this is the death of the relationship embodied in a single moment. He is still infatuated with her, but she has moved on and there isn't any of the old spark left.

While I did enjoy this film it is most definitely not something I would watch often. It is good enough to deserve another view or two, but it is just to heartbreaking. This script went through 66 drafts over 12 years and it shows in the attention to detail, the brilliant pacing, and the way it allows a look and silence to speak volumes. This is a well acted, solidly written and directed film that is well worth at least one viewing, just be aware that it won't be an entirely pleasant experience.
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Black Swan (2010)
10/10
Absolutely amazing.
28 October 2010
I was lucky enough to see this at the Austin Film Festival and was absolutely blow away.

Aronofsky is, in many ways, like Nick Cave. You know going in that you are going to get something gritty, raw, and real. You know that, even if it's good, it's going to be hard to process. But when he gets a hold of something, really gets a hold of it, you won't be able to look away, no matter how hard it is to watch. He is a singular filmmaker in the regard that he can create something that is both visceral and cerebral at the same time. Others can do this, but few as well. What he does is never hollow, shallow, or empty, it is always dense, deep, and rich with everything that makes film great.

"Black Swan" is no exception. In many ways this is the most Aronofsky of his films. His style is spot on and works exquisitely with the world he is presenting. It's surprising because he normally shows the dirty, gritty, and ugly places, where as everything in this film is clean and polished. But don't let that fool you, he saved the dirt and grit for the characters. It's remarkable that the man who was able to show the sensitive, and vulnerable side of a wrestler is also able to show the brutal and hard side of a ballerina? For starters, this film looks amazing. The production design, specifically the use of black and white in contrast (don't spend time looking for this, it's everywhere and you will miss something if you do) does it's job without feeling invasive. The lighting is brilliant, as is the staging of the dance scenes. I'm still stunned that the same eye that brought the grainy subway bathroom of "Pi" to life is the same eye that brings all this rich and beautiful color so clearly to the screen.

He also does a brilliant job of creating the world that these characters inhabit. This film reminded me of all the terrible parts of my theater days. The backstabbing, the trash talking, and the two faced nature of that world is portrayed with a deft and brilliant touch. There is a constant fear that you are one mistake away from losing not only your part, but your future parts as well. You feel like you are a part of this world, that he pressure of it is part of your world.

The camera work is great, if a little typical of Aronofsky at times (we see the backs of heads quite a bit, it works, but you see it a lot), but it is very affective. The somewhat jittery, close hand-held shots are perfect and pull you deeper into this world than may be comfortable.

Then there are the name performances. Of the name actors you mostly get what you expect. Portman, Cassel, Hershey, and Rider are outstanding. The only real shock, for me anyway, is Mila Kunis. I know her as Jackie from "That 70's Show," and nothing else. She damned near steals the show. That's right, in a move where she shares screen with Natalie Portman, AND Vincent Cassel she is able to not only hold her own, but walk away with some scenes. The interplay between her wild, unrestrained Lilly, and Portman's frightened, tightly wound Nina creates a brilliant external tension to match, and at times overpower, the internal tension that lies at the very core of Nina.

I have been a fan of Aronofsky's work since I saw "Pi" on it's original theatrical run ( I think I was the only person in the theater for that midnight show), and he has yet to disappoint. He has a definite point of view and a thematic core that runs through his work. Thematically, this is in keeping with most of Aronofsky's work. It's about control and the loss of that control. What happens when a perfectionist control freak is in a position where she HAS to let go of that control? What takes over when she does let go? In typical fashion, Aronofsky shows us that sometimes in striving to get what we want, we risk losing a part of us that we may never be able to get back, and don't realize how desperately we need.

Read more from me at www.thefilmthugs.com
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127 Hours (2010)
10/10
Intense, harrowing, and amazing
28 October 2010
This movie is the reason I don't go camping, hiking, or engage in any outdoor activity other than golf. I don't care how bad I play, I have never once been in the position to even consider cutting my own arm off to get back to the clubhouse.

That being said… This is an incredibly intense, rough, and powerful film that is by no means easy to watch, but it is quite good.

If you don't knew the story, Aron Ralston, an avid outdoors-man, mountaineer, hiker, biker, all of that, goes off for a weekend ride and exploration without telling anyone where he's going and had the worst possible thing happen to him. No, he wasn't killed or sodomized by hill folk, a rock in a cave he was climbing gave way, pinning his arm to the wall of the cave. In the middle of nowhere, out of view, and running low on supplies his case seemed hopeless until he made the realization that "I have a great tourniquet." Oh, and it's a true story.

This film focuses on the 127 hours from when he falls to the moment he makes a decision that most people couldn't even consider making. What you have here is a person, faced with a dire situation, no food, little water, unable to even turn around, having to jerry rig a climbing harness just to sleep, seeing his life for what it is, the good and the bad. This film presents a man laid bare and shows what you learn about yourself and life when it appears you will lose it.

The film itself is extremely well made. Danny Boyle pulls out as many stops as one can when dealing with a scenario that renders the camera immobile for a majority of the proceedings. Visually, he seems to be locked into his "Slumdog Millionaire" film grammar. It has that look and feel, the rich colors, the slightly slowed action, rewound scenes, flashbacks to small details we missed the first time, but the thematic elements keep it from feeling like a retread. He mixes a very stylized editing and grandiose establishing shots that show the vastness of the landscape with shaky hand held tracking shots that make you feel personally involved.

What I found most impressive was his use of sound. Not only to convey the isolation, but, more impressively, to communicate the intense pain of a self preformed amputation. The use of the camcorder, not only as source for on screen footage but as a second character, is incredibly affecting, and allows James Franco (in the performance of his career) to show the emotional swings from a forced joy to borderline insanity, and finally into the determination to live that would drive a man to such action.

This is not an easy film to watch, but it is not the people fainting at screenings histrionic affair that some are making it out to be. What it is is a very honest and real portrayal of what happens when you are confronted with losing everything.

Read more from me at www.thefilmthugs.com
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10/10
What a documentary should be!
28 October 2010
I know what you're thinking. "But I don't like 'Everybody Loves Raymond! Why would I want to watch this?" To which I reply, to your first point, "You are an asshole. It is a very good show, stop being an elitist prick and just enjoy yourself!" To your second, I reply, "You want to see this because it is, quite frankly, one of the funniest, sharpest, and completely entertaining documentaries I've ever seen." This is, in my opinion, the best documentary of the year. We follow Rosenthal from the original idea to the other side of the world as he tries to tune his show to fit the Russian sensibility, work in a creative environment that makes no sense to him, and deal with the absurd logistics of working in Russia. I cannot count the number of absolute laugh out loud moments in this film. Be it dealing with the new head of network comedy (a man who knows a significant amount more about lasers than comedy), trying to get the head of the Moscow Art Theatre to allow one of his actors to appear in the show (The Moscow Art Theatre is where Stanislavski did his writings on "the method," and Chekov premiered "The Seagull"), or attempting to translate the delicate physical comedy of a nut shot this movie has no shortage of genuinely funny moments. (At one point a joke about a "Fruit of the Month Club," had to be changed to "Water of the Week" because there is no "Fruit of the Month Club" in Russia… but apparently "Water of the Week" is a booming industry.) There are some touching scenes as well, Rosenthal bonding with his bodyguard (who would have preferred to have spent his life writing about sea shells), and spending an evening with a Russian family (and seeing just how similar we really are) add a nice emotional weight to the otherwise light proceedings. You could not write comedy this brilliant or moving. The film basically asks the question, "How difficult is it to let go of something you spent years of your life creating and let someone else make it their own." If you only see one documentary in the next two years, do yourself a favor and see this one.
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