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Me, You, and Everyone We Know (2005)
This movie is going to affect people very differently. Writer/director Miranda July, a note performance artist, has created a world of people fumbling for human connection. It’s deeply arty, meaning that meaning will be considerably different per viewer. For whatever reason, I was able to ride July’s artistic wavelength and enjoyed the series of oddball characters and weird vignettes, like a chain of cars keeping a goldfish alive atop one of their roofs. The film deals frankly with sexuality and involves teens experimenting, but the film exists in a world where sexuality still had its curiosities and detached humor, truly like a kid’s point of view. This movie has two of the most profoundly romantic moments of any film I’ve seen all year, but they are just moments. Me, and You, and Everyone We Know is a movie built around moments. There are enough of them for me and I appreciated July’s unique voice.
Nate’s Grade: B+
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The Brothers Grimm (2005)
Director Terry Gilliam is one of the true artists working today in movies. His manic, off kilter, visually grand imagination has crafted wonderfully vivid fantasias, but it also has given Gilliam a reputation for being the captain of a sinking ship. The Adventures of Baron Munchausen is regarded as one of Hollywood’s bigger failures, unfairly I might add. A fascinating 2003 documentary called Lost in La Mancha detailed the bizarre circumstances and implosions that forced Gilliam to shut down production of his pride and joy, a film about Don Quixote. We’re talking things as out of control and unlucky as acts of God conspiring to doom this project. But then, Gilliam has always been fighting someone or something his whole film career. The studio refused Gilliam’s cut of Brazil so he sneaked out a print, showed it to the Los Angeles film community, and they dubbed it the best film of that year. Gilliam is a man governed by his idiosyncrasies. He’s blessed with a unique voice but cursed with the prospects of not having anywhere to say something (would he not make simply the most divine Harry Potter film yet?). And so Gilliam strikes his hands at something a bit more commercially minded with the action/comic fable, The Brothers Grimm.
Will (Matt Damon) and Jakob (Heath Ledger) Grimm are nineteenth century ghostbusters, so to speak. They travel from town to town ridding the villagers of evil spirits, witches, and all sorts of demonic creatures. Trouble is it’s all a lie. The Grimm brothers and their pals set up the spooks and rob the town blind. Will enjoys the fame, and especially the women, but Jakob feels apprehensive. It?s the Napoleonic wars, and the French have occupied the Germanic lands. A snooty general (Jonathan Pryce) plans to behead the two Grimm brothers unless they solve a strange case in a rural town. A slapsticky, torture-loving commander (Peter Storemare) is sent to watch over the “Grimmies.” At the village, Will and Jakob discover the town has had 10 of its daughters kidnapped with little explanation. With the help of a free-spirited woman (Lena Headey), the brothers encounter giant wolves, moving trees, lickable frogs, and the giant tower of the Mirror Queen (Monica Bellucci). The Queen was given eternal life but not eternal youth. In order to gain eternal youth, the Queen needs to take the lives of 12 hearty girls, and only the bumbling Grimm brothers stand in her way.
The acting is an example of the film’s messy feel. Ledger talks with marbles in his mouth. He’s putting more detail into the character than it deserves. Damon seems like he’s sleepwalking through the film, and his accent fluctuates wildly. He’s sort of a grinning straight man to Ledger’s tic-heavy daydream believer. Belluci is a ravishing beauty and proof positive for Hollywood that women over 40 don’t need to be put out to pasture. Too bad all she’s expected to do is look pretty and seductive in The Brothers Grimm. Pryce plays his role like a cartoon caricature. Stormare has already given one crazy performance this year (Constantine), and his frenzied, nearly indecipherable performance seems to be the closest to Gilliam’s whacked-out wavelength. Stormare is entertaining in every scene he’s in but can be found guilty of chewing scenery like it was a delicious candy house.
The Brothers Grimm is a gorgeous looking film. The sets are massive and greatly detailed. The location shoots in Prague seem like the perfect environment for Gilliam’s beyond-this-world landscapes. Gilliam experiments with advanced computer graphics for the first time and adds his oddball touches. A child has her eyes taken by a glob of mud, and then the mud reshapes itself into a lumbering gingerbread man. A horse spits out a spiderweb and ensnares a child. And it looks really freaking creepy. The Mirror Queen’s defeat is another standout effect as she breaks apart like shattered glass. The look of The Brothers Grimm is outstanding, but it’s what takes place inside those pretty pictures that dooms the film to mediocrity.
The Brothers Grimm is an unfocused mess. It has disjointed subplots and several story elements that just don’t fit. The wacky French occupation feels like a leftover from a different movie. It just doesn’t work and grinds the movie to a screeching halt with every resurfacing. The Brothers Grimm will routinely work its way into a narrative corner and then use a “magic” cheat to escape (magic axe, magic mirror, magic kiss). Gilliam has always been a master maestro of chaos and visual oddities, but this time he’s tackled a film with a very weak script by Ehren Kruger (Ring Two). Kruger doesn’t bother laying the groundwork of his magical world or establish the rules. Therefore anything can happen and rarely feels satisfying. The characters are one-note, each given a single character trait to play with (skeptic, believer, idiot, etc.). The pacing is pretty sluggish. The first act takes an eternity to set up the film’s characters, plot, and yet it still feels sloppy. The twists and turns are easily telegraphed and unexpectedly boring. The plot is frustrating, shortsighted in scope, and far too conventional for Gilliam’s tastes. When The Brothers Grimm reaches its happy ending you’ll swear you can hear Gilliam gagging somewhere.
Gilliam adds a worthy macabre tone to the film. There will be touches that you know are pure Gilliam, like a woman skinning a rabbit as she talks, or a cat flying into the blades or a torture device. In fact, The Brothers Grimm has a lot of humor involving the comic demise of animals. This isn’t exactly a film appropriate for young children despite the appeal of a fairy tale background. The film wants to tweak fairy tale legends like the two Shreks, but Gilliam wants to make them disturbing nightmares, not something of irreverence. This puts the film’s tone at odds. One minute you’ll have a scene that?s morbid, darkly funny, and unconventional, and then the next minute you’ll have a scene that’s cliché, dull, and whimsically misplaced.
The Brothers Grimm feels like a Terry Gilliam film under glass. The script is weak and plodding, the characters barely leave a dent, and the tone is uneven. The plot is pulled in too many directions and lacks momentum. There are a handful of fun comic diversions but the movie feels like a loose collection of disjointed story elements. There are flashes of grim humor and visual elegance but more often than not the film is just stupendously boring. The Brothers Grimm feels the same way the Coen brothers’ Intolerable Cruelty felt: a unique vision compromised and downsized by studio conformity. You can see the indie spirit but the heart just isn’t beating. The Brothers Grimm is mediocre at best. How very grim indeed.
Nate’s Grade: C
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The Hitchhiker’s Guide to the Galaxy (2005)
I’m a big fan of the late Douglas Adams’ series, so going in I had a slate of expectations but also a working knowledge of this kooky universe. I really don’t think this film will work for anyone but the fans. The movie isn’t even structured like a screenplay, it has more of the novel’s loose loopy feel. Some things work wonderful, like the Vogons, giant marvelous looking puppets made by Jim Henson’s studio. The cast is mostly excellent (Alan Rickman steals the show as the voice of Marvin, a very depressed robot). The animated guide entries in the Hitchhiker’s book are colorful, stylistic, and witty. Somethings, however, don’t work at all. The additions to the story, an increased romantic angle between our lead Arthur Dent (Martin Freeman) and Trillian (Zooey Descehanel) as well as a flat happy ending that rewrites all the opening danger. The Hitchhiker’s Guide to the Galaxy occasionally serves up some juicy bits of wacky humor or visual fantasy (John Malkovich’s bit part is weird) but unless you were a fan of the book series, you’re really not going to be able to follow along or have any interest in keeping up.
Nate’s Grade: C+
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Garden State (2004)
Zack Braff is best known to most as the lead doc on NBC’s hilarious Scrubs. He has razor-sharp comic timing, a goofy charisma, and a deft gift for physical comedy. So who knew that behind those bushy eyebrows and bushier hair was an aspiring writer/director? Furthermore, who would have known that there was such a talented writer/director? Garden State, Braff’s ode to his home, boasts a big name cast, deafening buzz, and perhaps, the first great steps outward for a new Hollywood voice.
Andrew Large Largeman (Braff) is an out-of-work actor living in an anti-depressant haze in LA. He heads back to his old stomping grounds in New Jersey when he learns that his mother has recently died. Andrew has to reface his psychiatrist father (Ian Holm), the source of his guilt and prescribed numbness. He has forgotten his lithium for his trip, and the consequences allow Andrew to begin to awaken as a human being once more. He meets old friends, including Mark (Peter Sarsgaard), who now digs graves for a living and robs them when he can. He parties at the mansion of a friend made rich by the invention of silent Velcro. Things really get moving when Andrew meets Sam (Natalie Portman), a free spirit who has trouble telling the truth and staying still. Their budding relationship coalesces with Andrews re-connection to friends, family, and the joys life can offer.
Braff has a natural directors eye for visuals and how to properly use them to convey his characters feelings. A scene where Andrew wears a shirt and blends into the wall is a perfect visual note on the characters sleep-walk through life. Braff’s writing is also familiar but satisfyingly unusual, like a repackaging of old stories told with a confident voice. His characters are interesting and memorable, but dont feel uselessly quirky, unlike the creations of other first time indie writers. The melancholy coming-out of Andrew from disconnected schlub to post-pharmaceutical hero really grabs the audience and gives them a rooting point. At times, though, it seems as though Braff may be caught up trying to craft a movie that speaks to a generation, and some will see Garden State as a generation’s voice of a yearning to feel connected.
Braff deserves a medal for finally coaxing out the actress in Portman. She herself has looked like an overly medicated, numb being in several of her recent films (Star Wars prequels, Im looking in your direction), but with her plucky, whimsical role in Garden State, Portman proves that her careers acting apex wasn’t in 1994’s The Professional, when she was 12. Her winsome performance gives Garden State its spark, and the sincere romance between Sam and Andrew gives it its heart.
Sarsgaard is fast becoming one of the best young character actors out there. After solid efforts in Boys Don’t Cry and Shattered Glass, he shines as a course but affectionate grave robber that serves as Andrews motivational elbow-in-the-ribs. Only the great Holm seems to disappoint with a rare stilted and vacant performance. This can be mostly blamed on Braff’s underdevelopment of the father role. Even Method Man pops up in a very amusing cameo.
The humor in Garden State truly blossoms. There are several outrageous moments and wonderfully peculiar characters, but their interaction and friction are what provide the biggest laughs. So while Braff may shoehorn in a frisky seeing-eye canine, a knight of the breakfast table, and a keeper of an ark, the audience gets its real chuckles from the characters and not the bizarre scenarios. Garden State has several wonderfully hilarious moments, and its sharp sense of humor directly attributes to its high entertainment value. The film also has some insightful looks at family life, guilt, romance, human connection, and acceptance. Garden State can cut close like a surgeon but it’s the surprisingly elegant tenderness that will resonate most with a crowd.
Braff’s film has a careful selection of low-key, highly emotional tunes by artists like The Shins, Coldplay, Zero 7, and Paul Simon. The closing song, the airy Let Go by Frou Frou, has been a staple on my play list after I heard it used in the commercials.
Garden State is not a flawless first entry for Braff. It really is more a string of amusing anecdotes than an actual plot. The film’s aloof charm seems to be intended to cover over the cracks in its narrative. Braff’s film never ceases to be amusing, and it does have a warm likeability to it; nevertheless, it also loses some of its visual and emotional insights by the second half. Braff spends too much time on less essential moments, like the all-day trip by Mark that ends in a heavy-handed metaphor with an abyss. The emotional confrontation between father and son feels more like a baby step than a climax. Braff’s characters also talk in a manner that less resembles reality and more resembles snappy, glib movie dialogue. It’s still fun and often funny, but the characters speak more like they’ve been saving up witty one-liners just for the occasion.
Garden State is a movie thats richly comic, sweetly post-adolescent, and defiantly different. Braff reveals himself to be a talent both behind the camera and in front of it, and possesses an every-man quality of humility, observation, and warmth that could soon shoot him to Hollywood’s A-list. His film will speak to many, and its message about experiencing lifes pleasures and pains, as long as you are experiencing life, is uplifting enough that you may leave the theater floating on air. Garden State is a breezy, heartwarming look at New York’s armpit and the spirited inhabitants that call it home. Braff delivers a blast of fresh air during the summer blahs.
Nate’s Grade: B
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Napoleon Dynamite (2004)
Napoleon Dynamite was an audience smash at the 2004 Sundance film festival. Fox Searchlight jumped at the chance to distribute a film written and directed by Mormons, starring a Mormon, and set in film-friendly Idaho. MTV Films, the people behind alternating good movies (Better Luck Tomorrow, Election) and atrocious movies (Crossroads, Joe’s Apartment, an upcoming film actually based on Avril Lavigne’s “Sk8r Boi” song), came aboard and basically said, Look, we really like the movie, and we want to help bring it to a wider, MTV-influenced audience. And thus, Napoleon Dynamite seems to have become the summer biggest must-see film for sk8r bois and sk8r grrrls nationwide.
Napoleon Dynamite (John Heder) is an Idaho teen that marches to the beat of his own drum. He lives with his Dune Buggy riding grandmother and 31-year-old brother Kip (Aaron Ruell), who surfs the Web talking to women. When their grandma gets injured, Uncle Rico (John Gries), stuck in the 80s in fashion and mind, takes up shop in the Dynamite home and coerces Kip to hustle money from neighbors. Meanwhile, Napoleon befriends Deb (Tina Majorino), an otherwise normal girl with a sideways ponytail, and Pedro (Efren Ramirez, who was actually in Kazaam!), the new kid at school. Together, they try and get Pedro elected to class president, but standing in their way is the mighty shadow of Summer (Haylie Duff), the most popular girl in school. Oh yeah, there’s also a llama.
First time director, Jared Hess, and first time cinematographer, Munn Powell, orchestrate shots very statically, with little, simple camera movements and many centered angles. The style is reminiscent of the films of Todd Solondz (Welcome to the Dollhouse), or, more precisely, Wes Anderson. This shooting technique makes the characters stand out even more, almost popping out at you behind flat backgrounds like some Magic Eye picture. Hess easily communicates the tedium of Idaho with his direction. Can anyone name any other film that takes place entirely in Idaho? (Please note that My Own Private Idaho takes place in Portland and Seattle, mostly).
The star of the show is, of course, Heder. His wickedly funny deadpan delivery helps to create a truly memorable character. He achieves a geek Zen and, judging from the incredible amount of kids under-14 that appeared both times I saw this film, is most likely the greatest film realization of a dork. Its grand dork cinema, a genre long ignored after the collapse of the mighty Revenge of the Nerds franchise. So while Napoleon isn’t exactly relatable (llamas, Dune Buggy grannies and all), the right audience will see reflections of themselves. You’ll be quoting from Napoleon all summer.
Napoleon Dynamite is going to be an acquired taste. Its filled to the brim with stone-faced absurdities and doesn’t let up. If you’re not pulled in with the bizarre antics of bizarre characters in the first 10 minutes, then you may as well leave because otherwise it will feel like the film is wearing you down with its indie weirdness. Napoleon Dynamite seems to skirt the sublimely skewed world of Wes Anderson, but Napoleon lacks the deep humanity of Andersons films. What the audience is left with is a sugary, sticky icing but little substance beneath, and, depending on your sweet tooth, it’ll either be overpowering and a colossal disappointment or it’ll taste just right for the occasion. Alright, I’m done with baking analogies for the year.
Some will find a certain condescension against the characters. Napoleon Dynamite doesn’t outright look down upon its characters, but it does give them enough room to paint themselves fools. Uncle Rico is really the films antagonist, yet hes too buffoonish to be threatening. It’s a fine line for a film to have condescension toward its characters, but Napoleon Dynamite ultimately leaves with a bemused appreciation for its characters. The film presents the good characters as unusual but lovable and ready for growth (Kip, Pedro, and of course Napoleon), but the bad characters (Summer, Uncle Rico) aren’t demonized. In essence, Napoleon Dynamite is the best example of a film that makes an audience laugh at and with its characters simultaneously.
Napoleon Dynamite is assuredly an odd duck. Some will cheer; others will want to head out the door after a few minutes. It’s hard to say which reaction an individual will have. If you have a geek-enriched history populated with unicorns, Dungeons and Dragons, and/or social ostracism, then you may be more inclined to admire Napoleon Dynamite. I laughed out loud throughout the film and found it to be an enjoyable diversion, and I went the whole review without one Jimmy Walker reference.
Nate’s Grade: B
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Eternal Sunshine of the Spotless Mind (2004)
No other movie this year captured the possibility of film like Michel Gondry and Charlie Kaufman’s enigmatic collaboration. Eternal Sunshine was a mind-bending philosophical excursion that also ended up being one of the most nakedly realistic romances of all time. Joel (Jim Carrey restrained) embarks on having his memories erased involving the painful breakup of Clemintine (Kate Winslet, wonderful), an impulsive woman whose vibrant hair changes as much as her moods. As Joel revisits his memories, they fade and die. He starts to fall in love with her all over again and tries to have the process stop. This labyrinth of a movie gets so many details right, from the weird physics of dreams to the small, tender moments of love and relationships. I see something new and marvelous every time I watch Eternal Sunshine, and the fact that it’s caught on with audiences (it was nominated for Favorite Movie by the People’s friggin’ Choice Awards) reaffirms its insights into memory and love. I never would have thought we’d get the perfect romance for the new millennium from Kaufman. This is a beautiful, dizzingly complex, elegant romance caked in visual grandeur, and it will be just as special in 5 years as it will be in 50, that is if monkeys don’t evolve and take over by then (it will happen).
Nate’s Grade: A
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Bubba Ho-Tep (2003)
Bruce Campbell gives a memorable performance as the aging king of rock ’n roll, Elvis, spending his remaining years wasting away in a Texas nursing home. He and a black man (Ossie Davis), who thinks hes JFK, battle a mummy thats feeding on the souls of the nursing home. Its a fabulous premise, pure and simple. The trouble is, Bubba Ho-Tep works well in great bits and pieces but doesn’t have the hold of a feature film. This feels more acquainted to a short film or a TV sketch. There are parts where I was laughing hysterically (Davis has my favorite line: ”They took my brain! Im thinking with sand up there!”), and then there are other moments toward the end where I was catching myself nodding off. Writer/director Don Coscarelli has a cool visual palette of light and shadow, reminiscent of Guillermo del Toro (Blade 2). He also has a wicked sense of humor. The best moments of Bubba Ho-Tep are the back-story involving how the real Elvis swapped places to live a normal life. Campbell is wonderful, and the movie is alive in spurts, but it cant shake the illusion of feeling stretched.
Nate’s Grade: B-
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Punch-Drunk Love (2002)
So what do you get when you cross clown prince Adam Sandler and the writer/director of the lengthy epics Magnolia and Boogie Nights? Well you get the most unique romantic comedy ever, that’s what.
Barry Egan (Sandler) is a self-employed supplier of novelty toilet plungers. His seven older sisters have made it their job to torment him ever since he was young. In moments of confession of his unhappiness Barry usually prefaces by pleading with people not to tell his sisters. Barry is a timid introverted wallflower yet full of volatile rage fit to senselessly trash a restaurant bathroom. Lena Leonard (Emily Watson) pursues Barry after being introduced through one of his sisters. Lena latches onto the oddball and he finds the maternal comfort and acceptance he has missed his entire life. Somehow these two souls have crossed paths and become exactly what the other has always needed.
But Barry has trouble ahead of him. One night he called a phone sex line and innocently gave out all of his personal information over the phone. Now a sleazy Provo mattress store owner (Phillip Seymour Hoffman) is extorting money from Barry and using four blond Mormon brothers as his muscle. When Barry confronts the thugs, whom have now begun to endanger Lena as well, he boldly states, ”I have a love in my life and that gives me more strength than you will ever know.” You cant help but believe it and genuinely feel for the resurgence of this character’s dignity.
Writer/director Paul Thomas Anderson spins an engrossing character study deconstructing the angry goofball Sandler has been so accustomed to playing in all his slapstick comedies. He plays the same character archetype but is now given new dimensions to play with and depth. The true revelation of Punch-Drunk Love is that Sandler can really act. No, really, I’m dead serious.
The direction and writing are much more restrained than with Andersons previous films. The world of Punch-Drunk Love is full of stark colors, slow camera movements and vast amounts of spatial emptiness. The scope is much narrower, focusing on a small set of characters and just allowing them to tell the story without outside interference — like a frog shower. Due to the attention paid to Barry, everyone else becomes underwritten including the stoic love interest. After being convinced of Barry’s instabilities the audience is left to assume sheer blind faith at what Lena sees in Barry.
Punch-Drunk Love gleefully ignores and plays with romantic comedy conventions. The running time is under 90 minutes, (which is still only HALF of Magnolia) but the pacing is precise. John Brions percussion heavy musical score wonderfully displays the boiling anger behind Barrys placid exterior during key moments.
The storytelling of Punch-Drunk Love is full of uneasily accessible quirks and will likely be reacted to with hostility by mainstream America. What Anderson has crafted is an arty Adam Sandler movie that few thought even possible. Next thing you’ll tell me is that David Lynch will do a G-rated Disney Film. What’s that now?
Nate’s Grade: B+
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Secretary (2002)
Secretary is a new romantic comedy with a few kinks to it. Its actually the most romantic S&M movie ever. It’s the first S&M romantic comedy since maybe Garry Marshall’s disastrous 1994 Exit to Eden. Im still trying to get the image of Rosie O’Donnell in a bondage mask out of my ongoing nightmares.
Lee Halloway (Maggie Gyllenhaal) is fresh from a stop at a mental institution for her hazardous habit of cutting herself to feel relief. Her overbearing mother stashes the entire kitchen cutlery in a locked cabinet. The sheltered Lee resorts back to a kiddy make-up box stashed under her home bed. Instead of colorful brushes and arrays of lipstick, she has a selection of sharp objects. Lee goes job hunting to step back from her habit, and is hired as a secretary to E. Edward Gray (James Spader). He is a rigid taskmaster who delights in pointing out typographical errors with his red marker, his weapon of choice. Gray enjoys his dominance and Lee complies, even if its routing through garbage. He ticks away Lee’s flaws like a checklist of annoyance but also appears to have genuine concern for her. When he notices her wounds Gray confronts her and convinces Lee to stop cutting herself.
The turning point arrives when Gray orders Lee into his office one afternoon. He commands her to bend over his desk and then delivers a sound spanking. Lee stares at her purple rump with fascination, like something has been awakened inside her. Soon enough Lee purposely makes typos so she can re-assume her spanking position.
Maggie Gyllenhaal is a cinematic find with a fearless and breathtaking performance that is at once delicate, nervous, self-controlled, seductive and delightful. Gyllenhaal, with her heart-like face and pert lips, radiates star quality. She allows the audience into Lee’s head and we quickly fall in love with this peculiar yet charming heroine. If there is any justice in this world Gyllenhaal should at least get an Oscar nomination (she didn’t). Spader can do this left-of-center creepy character stuff in his sleep.
Secretary on the surface may seem like a fetish flick but it’s no different than boy (sadist) meets girl (masochist) and falls in love. Director Steven Shainberg treads carefully around serious subject matter, like Lee’s self-mutilation, to focus on these two very special characters. Secretary isn’t making any loud statements on sadomasochism or post-feminism, it’s just showing us that S&M is the route these two people take to find true love. It doesn’t judge them for their unconventional tastes and neither should we. This is one of the finest romances in recent memory and it seems to come from one of the most unlikely places.
Sadomasochism has been predominantly shown involving pain or some leather-masked madman evoking torture. Secretary may be the film that shows there can be pleasures with pain. Some people regard what Lee and Edward do as sick, perverted, or downright wrong. Secretary is a foot in the door to get people to understand what willing sadomasochism really is about. We all have fetishes and interests, and S&M is the number one fetish truth be told. This isn’t your everyday romance.
Obviously, this is a movie that will not appeal to everyone. The relationship between our leads is surprisingly complex but gentle and even sweet (if thats the proper word for an S&M romantic comedy). Secretary shows that it truly takes different strokes and, despite an overly silly ending, is the most pleasing romance of the year. Youll never look at red felt pens the same.
Nate’s Grade: A
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Human Nature (2002)
Screenwriter Charlie Kaufman jumped on to Hollywood’s A-list when his feature debut Being John Malkovich was unleashed in 1999. Malkovich was a brilliant original satire on identity, be it celebrity or sexual, and was filled with riotous humor but also blended beautifully with a rich story that bordered on genius that longer it went. Now Kaufman tries his hand expounding at the meaning of civilization versus animal instinct in Human Nature. As one character tells another, “Just remember, don’t do whatever your body is telling you to do and you’ll be fine.”
Lila (Patricia Arquette) is a woman burdened with excessive body hair ever since she was old enough for a training bra (with the younger version played by Disney’s Lizzie McGuire). Lila feels ashamed by her body and morbidly humiliated. She runs away to the forest to enjoy a life free from the critical eyes of other men. Here she can commune with nature and feel that she belongs.
Nathan (Tim Robbins) is an anal retentive scientist obsessed with etiquette. As a young boy Nathan was sent to his room for picking the wrong fork to eat his meal with. He is now trying his best to teach mice table manners so he can prove that if etiquette can be taught to animals it can be ingrained toward humanity.Lila and Nathan become lovers when she ventures back into the city, eliminating her body hair for now, because of something infinitely in human nature – hormones. The two of them find a form of content, as neither had known the intimate touch of another human being.“Puff” (Rhys Ifans) is a grown man living his life in the woods convinced by his father that he is an ape. One day while walking through the woods Nathan and Lila discover the ape-man and have differing opinions on what should be done with him. Nathan is convinced that he should be brought into civilization and be taught the rules, etiquette and things that make us “human.” It would also be his greatest experiment. Lila feels that he should maintain his freedom and live as he does in nature, how he feels he should.
What follows is a bizarre love triangle over the reeducation of “Puff,” as Nathan’s slinky French assistant Gabrielle (Miranda Otto) names him. Lila is torn over the treatment of Puff and also her own society induced shame of her abundant amount of body hair. Nathan feels like he is saving Puff from his wayward primal urges, as he himself becomes a victim of them when he starts having an affair with Gabrielle. Puff, as he tells a congressional committee, was playing their game so he could find some action and “get a piece of that.”
Kaufman has written a movie in the same vein as Being John Malkovich but missing the pathos and sadly, the humor. ‘Human Nature’ tries too hard to be funny and isn’t nearly as funny as it thinks it is. Many quirky elements are thrown out but don’t have the same sticking power as Kaufman’s previous film. It’s a fine line between being quirky just for quirky’s sake (like the atrocious Gummo) and turning quirky into something fantastic (like Rushmore or Raising Arizona). Human Nature is too quirky for its own good without having the balance of substance to enhance the weirdness further. There are many interesting parts to this story but as a whole they don’t ever seriously gel.
Debut director Michel Gondry cut his teeth in the realm of MTV making surreal videos for Bjork and others (including the Lego animated one for The White Stripes). He also has done numerous commercials, most infamously the creepy-as-all-hell singing navels Levi ad. Gondry does have a vision, and that vision is “Copy What Spike Jonze Did As Best as Possible.” Gondry’s direction never really registers, except for some attractive time shifts, but feels more like a rehash of Jonze’s work on; yep you guessed it, Being John Malkovich.
Arquette and Robbins do fine jobs in their roles with Arquette given a bit more, dare I say it more, humanity. Her Lila is trapped between knowing what is true to herself and fitting in to a society that tells her that it’s unhealthy and wrong. Ifans has fun with his character and lets it show. The acting in Human Nature is never really the problem.
While Human Nature is certainly an interesting film (hey it has Arquette singing a song in the buff and Rosie Perez as an electrologist) but the sum of its whole is lacking. It’s unfair to keep comparing it to the earlier Malkovich but the film is trying too hard to emulate what made that movie so successful. Human Nature just doesn’t have the gravity that could turn a quirky film into a brilliant one.
Nate’s Grade: C+
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