Movie Review 10: Parenthood (7.3)

"You need a license to buy a dog, to drive a car - hell, you even need a license to catch fish. But they'll let any butt-reaming asshole be a father"

- Tod, Parenthood (2008)

This Ron Howard classic revolves around an extended family and their different parenting styles. In the household: 
- Frank is the father of four, Gil, Helen, Susan and Larry. He is exceptionally close to Larry to compensate for his failure with his previous children, but struggles when Larry takes advantage of his kindness.
- Gil and Karen have three children, Kevin, Taylor and Justin. Kevin is undergoing therapy due to his slow learning, which worries Gil who tries hard to make up for his bad childhood by being a protective father.
- Helen is a single parent with two children, Garry and Julie. Helen tries to cope with single-parenthood as her children go through puberty.
- Susan and Nathan have one daughter, Patty. Susan struggles to intervene in Nathan's strict and unreceptive way of raising a family.
- Julie is married to Tod, and pregnant with his child. Helen was initially sceptical of Tod, but was won over when he became the much needed male figure in Garry's life.
- Larry is taking care of a child of his own, Cool. Cool's real parents are unknown.

According to Maccoby and Martin's research in parenting, there are four major styles. These styles are found within the film:

1) Uninvolved: Frank, Larry
The uninvolved parenting style is defined as undemanding and unresponsive. Parents in this category generally allow their children to do as they wish, even though it may be detrimental to either of them. Confrontation is little or non-existent. This is parenting style is practiced by Frank towards his first three children and hinted at throughout the film. Larry is also an uninvolved parent with Cool.

2) Permissive: Helen
Helen is a permissive parent because, while she doesn't directly interfere, she attempts to be involved with her children's lives. Initially, Garry and Julie look down on this loose form of authority, buy Helen's well-meaning and persistent behaviour eventually wins their confidence. A permissive parent responds to the children's behaviour but doesn't demand or place expectations on them.

3) Authoritative: Gil and Karen
The authoritative parent is the opposite of an uninvolved parent, actively being involved in the children's lives. Certain expectations are placed on the child, but their needs and problems are also attended to. Gil and Karen practices a strong authoritative style, which is Gil's way of compensating from his own childhood experience. Gil and Karen are motivated by the unhealthy worrying that their children may grow up somewhat lacking, an issue which is confronted in the film.

4) Authoritarian: Susan and Nathan
The well-meaning Nathan wants his daughter to utilise the absorbing capacity of Patty's young mind, completely neglecting Patty's opinion in the matter. This worries Susan, as high demands are place on her child without being responsive to her need to socialise. 

Movie Review 9: Grace is Gone (7.0/10)

"It basically comes down to a gut thing... Or you'll never actually see the truth at all."

- John Phillips, Grace is Gone (2007)

"Grace is gone" centres on how Stanley Phillips (John Cusack) comes to terms with the death of his wife by bringing himself to reveal this tragedy to his children, Dawn and Heidi. He stalls this inevitable confrontation by bringing them to the Enchanted Gardens theme park while he comes to terms with reality himself. The reserved and obedient Heidi realises that something is amiss when she notices her father being unusual.

Stanley exhibits all the signs of a person in grief, according to the Kubler-Ross stages of grief model. This includes a a transition through these phases: 
- Denial (Leaving to the Enchanted Gardens) and Isolation (Curling up alone in the bed)
- Anger (Fighting with his brother, John)
- Bargaining (He tells Grace it would have been better if he had gone and she stayed)
- Depression (Throughout the film he distracts himself from his grief by spending all his time doing his children wants, i.e. Enchanted Gardens, piercing ears and smoking)
- Acceptance (Breaking the news to Heidi and Dawn)

Heidi is a reserved 12 year old who is well mannered and often annoyed at her younger sister's playfulness. Certain telltale signs in the film reveal that she is also affected by the absence of her mother, such as her strict adherence to rules and her insomnia. She was portrayed as a very perceptive child. She knew that fun had to be spontaneous, that her father's job was important to the family, and asked both Stanley and John difficult and important questions. Heidi also noticed her father's change in behaviour, coming very close to guessing at her mothers death.

Dawn, on the other hand, consistently portrays a fun-loving oblivious 8 year old who is just excited at the opportunity to go to the Enchanted Gardens. This persona only changes once, when she quietly hides in a toy house after getting her ears pierced. She proudly tells a random adult woman about it, who brushes her off, and hides presumably because she misses her mother. Nonetheless, when Stanley reveals to them about their mothers death, both Heidi and Dawn reacted the same way, regardless of their age or personality. 

I believe the reaction of the two children at the end reflects how grief isn't a respecter of age or personality. Cusack portrayal of a conflicted father was neither loathsome or annoying, but convincing for the most part. While the movie gravitates around Cusack, political sentiments that are suggested prove  distracting. This is evident in Grace's death as a soldier, Stanley's failure and shame in not being able to serve in the US military, and John's anti-war stance. 

Movie Review 8: When a Man Loves A Woman (6.6/10)

"When a man loves a woman, can't keep his mind on nothing else..."

- When a Man Loves a Woman, Michael Bolton

This film, by Luis Mandoki, tells of a family's struggles with a member who is an alcoholic. Pilot husband Michael Green (Alec Baldwin) balances between his wife Alice's (Meg Ryan) rehabilitation and raising two daughters. The encompassing theme in this film is the ability to survive a transition in marriage.

There is a similarity in all the major characters, in which Mandoki chooses to portray them atypically. This includes the alcoholic in the family being the wife instead of the husband, the pilot being devoted to his family instead of living a sybarite life, and children who are outspoken instead of silently suffering. While these interesting takes represent possible characters in real life, they differ too much from what is commonly perceived and makes the film seem unrealistic.

The underlining issue that is addressed is the reaction of the family toward the changes caused by Alice's addiction and rehabilitation of alcohol

Michael tries to fix his wife, hoping that things will get back to the way they were, not realising that Alice needed a partner not a repairmen and the changes that have happened are permanent. He also privately struggles with self-blame for not noticing the alcoholism, which drives him further to 'fix' the problem. 

After rehabilitation, Alice worries about whether her husband will still love her. She confide in her friends from the rehabilitation centre, which renders Michael insecure. This is because Michael has always been there to 'save' Alice when she gets drunk. But after rehabilitation, she needed him to journey with her instead.

The children, Jess and Casey, are also affected by their mother's problem. Jess tries to be strong after being slapped by her mother, attempts to play the mother in the family when Alice is undergoing rehabilitation, and is seen to guard herself against the possibility of her father emotionally betraying her as well. 

Another theme that is portrayed is how parenting styles affect future parenting styles.

In the film, Alice deeply regrets hurting Jess as she recalls the traumatic abuse she suffered from her parents. This is in particular reference to how her mother always thought Alice wasn't good enough, an attitude still evident when they visited the family. This led to an emotional overprotection on Alice's part towards her children.

Alice also attributes her alcoholism to her upbringing, because her father was a drunkard. Her fathers example, coupled with her mothers emotional abuse, caused her to indulge in alcohol at the tender age of 9.

Movie Review 7: Chariots of Fire (8.8/10)

"You experience elation when the winner breaks the tape... But how long does that last? "

- Eric Liddell, Chariots of Fire (1981)

"Chariots of Fire", Hugh Hudson defining piece, follows the struggles of athletes Eric Henry Liddell (Ian Charleson) and Harold Maurice Abrahams (Ben Cross) in competing in the 1924 Olympics. 

In the film, Liddell is torn between being a missionary to China and pursuing his gift of agility. He resolves to halt his ministry to chase his dream and, straining his family ties, Liddell is made to choose between his beliefs and responsibility to the country. Abrahams is driven to prove himself a true Englishman, believing that his Jewish heritage has become a basis for racial prejudice. Gaining recognition in Cambridge for his athletic prowess, he sacrifices valuable relationships and utilises questionable methods to achieve success. He is confronted with his fear of the uncertainty of the race even after so much effort given.

Hudson addresses an interesting set of themes derived from athleticism, including:

1) Motivations:
Liddell explains to others how he is running for God while Abraham is fuelled by the desire to prove himself an Englishman. Both are motivated by external reasons to stand out and succeed.

2) Focus:
Abraham's coach Sam Mussabini stresses that everything must be mentally blocked out during the race, including other runners.

3) Uncertainty:
Abrahams attends a race to size-up Liddell and later regrets doing so when he loses to him (Liddell). During the Olympics, Abrahams also suffers substantial amount of anxiety at the realisation that all his efforts and sacrifices boils down to a few highly unpredictable minutes.

4) Numbness:
Abrahams experience a post-victory numbness that isn't commonly portrayed in the big screen. Nonetheless, not knowing how to react or being in a state of disbelief is common among athletes.

Movie Review 6: Dances with Wolves (8.6/10)

"Of all the trails in life, there are some that matter most. It is the trail of a true human being. I think you are on this trail, and it is good to see."

- Kicking Bird, Dances With Wolves (1990)

Dances with wolves is a movie, directed by Kevin Costner, about an American who befriends the Red Indian Sioux tribe  at a time when the American army was hunting them down. Upon receiving undeserving honour for a suicide-turned-heroic act Lieutenant John J. Dunbar (Costner) chooses reclusion and to see the frontier before it is taken by the Army. Being alone in the furthest outpost, Dunbar comes in contact with the Sioux and, despite communication barriers, befriends them. Then, Dunbar and his Sioux friends meet the social challenges of their new relationship like exchanging and understanding each other customs, dealing with the Pawnee enemy tribe, impending American army, and Buffalo hunting. A major element that this movie addresses is the language difficulties when people of two different cultures meet. Costner shows that not only is there difficulty in understanding and adopting the language, but also establishing trust.

In his directorial debut, Costner relied heavily on using voiceovers to follow Dunbar's thought process, which allows viewers clarity amidst his confusing actions. He also devoted much research into the relationships of the Sioux, Pawnee and Americans. He also was tactful in portraying the Sioux as long-lasting, wise and not an out-dated people. The scene where Ten Bears show a 18th century Conquistador helmet from a battle fought by his ancestors pays tribute to their legacy. Costner also literally spared no expense to provide authenticity to the film. The hiring of 3500 buffalos for the stampede scene made for an amazing shot of Dunbar and the Sioux's encounter with the unstoppable force which represented nature and change, of which both of them are ultimately subject to.

Personally it is a film that I have heard much of and had high hopes for. Nonetheless, I noticed that the length of the film (3 hours) affected my friends and I negatively. I feel that this is due in part to the long, scenic shots that Costner takes. With other films of similar length, like The Lord of The Rings, Saving Private Ryan, and The Patriot, I did not feel as lethargic. This is a testament to the change in moviegoers demands to be continually and quickly entertained. 

Notably, the storyline is one that has been reused since its debut in Disney's Pocahontas, James Cameron's Avatar, and The Last Samurai. Given the expectations I held for this movie, I now wished to have enjoyed it before other movies with the same storyline. This jaded-ness of moviegoers is another aspect that affects the viewing pleasure of Dances With Wolves.

Movie Review 5: Cry Freedom (7.5/10)

"It is better to die for an idea that will live, than to live for an idea that will die"

- Stephen Bantu Biko (1946 - 1977)

The Richard Attenborough movie, Cry Freedom, demonstrated the willingness of two people to fight for the freedom of an oppressed race. This film showcased the passing of the torch from Steve Biko (Denzel Washington) to Donald Woods (Kevin Kline) to ignite revolution and pioneer the way to racial equality during the South African apartheid.

Washington's role as Biko deservingly earned him an Academy Award nomination. He managed to encapsulate the scholar, patriot and rebel that Biko was known to be. Nonetheless, I feel that the movie attempts to show the fight of a white man to champion the freedom of native Africans, rather than the efforts of Steve Biko. This is because the death of Biko, while aptly portrayed, takes place within the first half of the movie. On the other hand, Woods' sacrifices and journey to publish his book was allowed much more screen time.

Attenborough displayed proficiency in the use dramatic music and camera work to capture the emotion in numerous important situations. Notable among these was when Steve Biko died and when the Woods family crossed the border. What I find most impressive is Attenborough's ability to create a film both captivating to the audience, and respectful to its historic origins. However, the plan of escape for the Woods family could have been better explained.

Personally, I find myself able to relate to the subject matter at hand given that the issue of racial harmony is sensitive, yet frequently brought up, in Malaysia. Upon realising the opportunity, any race (or division of people) may rise and proclaim themselves superior to the rest. This potent misconception becomes what psychologists label as ethnocentrism, and is usually associated with dictatorial rule, oppression, and violence. Nonetheless, Biko, Woods and all other anti-apartheid heroes stand as an example of how understanding can be achieved without the use of arms; and forgiveness, without retribution.

Movie Review 4: Mississippi Burning (3.8/10)

"Anyone's guilty who lets these things happen and pretend like it isn't"

- Agent Ward, Mississippi Burning (1988)

Mississippi Burning, by Alan Parker, was a retelling of the racial violence that took place in the 1960s and Agent Ward (Willem Dafoe) and Anderson's (Gene Hackman) efforts to solve the deaths of three civil rights activists. The human behaviour portrayed in the film will be reviewed in the respect to psychology theories and concepts.

Learned Helplessness amongst Black Americans
The Black Americans (BA) exhibited this towards the violence from the White Americans (WA) many times throughout the film, such as when the BA didn't bother aiding the agents who wanted to help them. One "learns helplessness" when exposed to an aversive stimuli so often that avoiding it is deemed pointless. BA also did not bother taking action anytime one of them were killed, tortured, or raped.

Ethnocentrism of Race and Religion
WA demonstrated ethnocentrism when they elevated themselves (Anglo-Saxon Christians) from BA and Jews, using blatant insults like "nigger" and "Jew boy". Also, Mrs. Pell's brief reference to Genesis 9:27 subtly explained how WA schools justified slavery to 7-year-olds. In this biblical scripture, Noah curses his grandson Canaan (through Ham, Noah's son) and his descendants to be slaves to Sham and Japheth (Noah's other sons) and their descendants. Mrs. Pell exasperated that her community is conditioned to this groupthink, that "... you live it, you breath it. You MARRY it.". Underlining the whole course of events, the WA felt most threatened by BA newfound right to vote, which was a step towards racial equality (and was the reason the activists were murdered in the first place).

Hooliganism of the Ku Klux Klan
Typical actions of the Ku Klux Klan were portrayed in this film, including the burning of the wooden crosses, the kidnapping and killing of BA, and the burning of churches and homes. Hooliganism typically takes place under the anonymity of crowds, where individuals can act radically with little risk of being caught.

Notably, Parker compares the "by the book" method of Agent Ward (which yielded little results) against Agent Anderson's effective-yet-questionable approach (which led to Mrs. Pell injuries and the Mayor's suicide). I felt that the film was more documental than a dramatisation of true events. This made for good behavioural analysis, but not entertaining, material.