Anomalisa

dir. Charlie Kaufman & Duke Johnson, Paramount Animation


The world of Anomalisa is full of people, full of faces, full of connections that are somewhat unreachable to Michael Stone, a customer service pioneer. There may be faces, bodies, and voices surrounding Mr. Stone, but none of them stand out, nor do they fit in with his desires and expectations. The world is bleak, exhausting, and a torment. Michael may not be physically alone, but he’s lonely; there’s no one he can bond with since no one seems to be interesting or important to him. However, Lisa, a woman he meets during a business trip, does not fit in the world and is an “anomaly.”, at least in Michael’s eyes. 

The production team illustrates this amazingly in an incredibly creative way. First, the cast presents the theme with the use of only one person. Everyone in this film besides Lisa and Michael is voiced by the same mundane, monotone voice. The design of these characters is incredibly well done through the magic of animation. All the characters have eerily identical faces and shapes. Everyone may have different hair and styles but overall have the same vacant expression. The design shows and doesn’t tell how lonesome Micheal’s world is. There is absolutely no one, and everyone is just some empty carbon copy of each other with no depth. 

Elsewhere, Lisa and Michael have distinct, different faces and voices. Micheal is old and worn out. Irritated by everything, he is looking for any glimpse of happiness and nurture. A glimpse of a relationship, some beacon he can connect to, talk to, and relate to. This is where Lisa comes in. In Micheal’s perceptions, Lisa pops out and is the only sweet and unique experience. Her face is “pretty,” even if she doesn’t believe it. Lisa seems to be full of life and quirks that only make Micheal fall in love with her, knowing that there’s something extraordinary. Due to her individuality, she becomes the main love interest. 

SPOILERS AHEAD

Micheal is a married man who has lost spark with his wife and son. In fact, it’s pretty evident he lost all spark with the setting around him. During the film, he tries to reconnect in the valleys of romance and pleasure in his business travel. Anomalisa is one of those rare, wonderful films that are up to interpretation. It could mean a lot of things for each audience member. At first, Micheal wants to reconnect with his ex-girlfriend Bella. A weird thing to do as a married man, according to her. Obviously, this doesn’t go smoothly. Michael doesn’t want to sleep with someone necessarily. He is looking for that spark you have when you find someone you love. He needs to connect with a person again. 

Though, on the same night, he meets Lisa. An anomaly in this world. Despite only meeting her hours ago, Michael confesses he is in love with her. There is no one else like her. In his view, his wife and child are only facades of people; they don’t exist as real people and are only robotic copies of a disposable human. In his one-day stay in Cincinnati, Michael has an affair with Lisa, a night full of newfound intimacy and prosperity. The morning after, Michael settles it; he will leave his wife for a brand new life with the only woman that matters. 

I love the dialogue and overall character design that the director(s) decided to stick with. Lisa has a scar on her side that she covers with her hair, displaying an imperfect human being. Her otherness is fetishized, as Micheal tries to kiss her scar and likes to listen to her voice, not to what she is saying. In contrast, the dialogue with everyone else is only an irritation to Michael; he is annoyed at the vain conversations he has to have every day. My favorite pieces of dialogue in this movie are Michael’s speech at the business conference and breakfast with Lisa, where everything falls apart. Michael discovers Lisa’s unlikeable eating habits or, in other terms, her flaws. She has minor quirks that can be unpleasing, like speaking with her mouth full. At this moment, Lisa’s voice starts to morph into everyone else’s, and Micheal starts to lose her. 

He proceeds to perform his speech at the conference about customer service—an ironic subject for him to be an expert at. Micheal talks about how every customer is an individual you can relate to, something he clearly doesn’t believe. Every customer has a voice, body, aches, heart, childhood, and mind, and he can’t see ANY of that in his real life. Micheal shatters. He asks, what is to live? What is it to ache? What is it to be human? He admits to a crowd of strangers that he is love is gone and that he has no one to talk to. He wants to cry, but he can’t. No tears are coming from his eyes that could free him from his torment. He strangely puts this feeling with the phrase, “It’s like not being able to come”. That is the perfect sentence to describe that feeling. Anxiety just sits in someone’s stomach and their throat, while that feeling where you know something is going to happen, but then it doesn’t, and you sit there waiting, but it doesn’t come. 

Michael leaves Cincinnati without Lisa and returns to his bitter life because he realized that she was turning into everyone else and was flawed. Michael’s problem is that he never really meets anyone. He rejects Lisa once her unappealing mannerisms appear, not realizing that people’s flaws are what make them unique. No one can fit Michael’s expectations because no one is perfect. What happened in the hotel was that Michael was willing to find a bond with really anyone that seemed to shine; it didn’t matter who they were. He is destined to live a bleak and lonely life. Anomalisa is a film about having control over partners & your surroundings and trying to shape them into being what would perfect for yourself. However, in doing that, you only lose what you already have.

Final Score: 4.5/5

Rating: 4.5 out of 5.

Black Mirror: National Anthem

dir. Otto Bathurst, Netflix

Black Mirror has always been a grim, dark show. Popularized through its similarities with The Twilight Zone, it’s a show about the dangers of humanity, not technology, like how some people believe. “National Anthem,” Black Mirror‘s pilot, is probably the most crucial episode of the series. Pilots are mood setters; they dictate how the series is going to continue and feel. Well-made pilots keep viewers watching and interested in the series; they make you want to keep watching and click on the next episode. “National Anthem” is quite the introduction for Black Mirror. The episode starts with the Prime Minister receiving an emergency call; the princess has been kidnapped. The deadly kidnapper sends out a video on youtube, where the princess is crying and putting out the demands that will bring her back. The Prime Minister expects to her about money or some political action. The Secret Service quickly warns him that the order directly affects him. To his dismay, it’s asked of him to have sexual intercourse with a pig on live television at precisely 4 PM. 

Black Mirror has never been shy to disturb its audience. One can always count on the show to send a message that sicks, usually delivered in the form of a plot twist. “National Anthem” shocked audiences and character; no one expected the Prime Minister to go through with the demand. But ultimately, he did. The Secret Service and he were within a time limit, or the kidnapper would kill the princess. Despite everything done, there was no choice but to submit to the inexplicable request—everyone tunes in to watch the act happen, in which the princess is released. According to my interpretation, the kidnapper’s message was to prove that people would focus more on what didn’t actually matter. As the public, we are so engrossed in celebrities’ lives rather than those surrounding us. We are interested in the abstract idea of what is happening to them rather than what is essential. The point of the mission was to recover the princess. Not only for the Prime Minister but the citizens of the UK. In a way, it was everyone’s responsibility to keep an eye out for the princess, to see if she would be released or has escaped. Instead, the people want to see the Prime Minister embarrass himself. 

National Anthem” may not be the best Black Mirror episode or not even the best start. However, it’s a statement about the show. The world of the series is very harsh and dark. People and events never turn out as expected. Mostly though, it’s selfish. The characters will be more concerned over themselves than anyone or anything. Despite this not being sweet, it’s raw. Black Mirror, in a way, is realistic. The world is selfish a lot of times. The characters are always in situations that they created themselves as we watch them either destroy everything or save the day. The show keeps us interested because we have to see what other way they can disturb us. How else can the show portray how self-destructive human nature is, especially when technology is misused? So far, the show hasn’t failed too far in doing that, and I patiently wait to see them do it again. 

Final Score: 4/5

Rating: 3 out of 5.

Malcolm & Marie

dir. Sam Levinson, Netflix

If I wanted to see two grown adults fight I would have tuned in to Divorce Court, Nikocado Avocado, or even just gone to see my parents.

Malcolm & Marie is a film about two lovers arguing their relationship apart the night of their movie premiere. The film tries to comment on movie critics and romantic relationships. Malcolm & Marie is a trying film; meaning that the film may try to entertain you and make an important observation, but fails like the couple’s stability.

On a technical level, the movie did great. Zendaya and John David Washington give an incredible performance and, at the very least, make their characters real. The cinematography and colors (or lack of) do provide the movie an aesthetically pleasing touch. However, the black and white did not represent anything and was done so that the film can look artsy. The soundtrack is terrific, as the smooth jazz helps the feeling of Malcolm and Marie trying to stay in love. That’s what I can say is good about the movie. 

SPOILERS AHEAD

In summary, Marie gets mad, and Malcolm responds. The film goes absolutely nowhere. Both of them bicker at each other in an almost abusive way. You can tell that the director wanted to create an original take on romance films. Romance or couple-focused movies tend to get hate because they can sometimes portray people that are too perfect and relationships that have no problems. Instead, this film shows almost every problem Malcolm and Marie have. 

However, there is a fatal problem with the movie that I believe great romance movies don’t. Malcolm and Marie don’t develop as human beings or lovers. They may apologize and be honest about what bothers them, but they don’t become better to each other. One may argue that the moment Malcolm apologizes is him becoming better, but that scene only happens because Marie lectured him like an angry mother when her son tells her a joke. Great romance films have lovers that develop, that learn from their mistakes to become better overall. The fights these lovers have can show their ugly side and their flaws, but then the movie goes somewhere, unlike Malcolm & Marie. The characters don’t change overnight and in one apology like Malcolm tries to. It takes days in those characters’ relationships to make it better and help each other. 

On a symbolic level, the director Sam Levison tries to highlight how Hollywood is obsessed with racism. His execution on the subject could have been a bit better. The whole movie makes a joke about how white film critiques will see black characters and instantly assume how they represent a struggle for the African-American community. According to Levinson, this is annoying, and not every black character represents this. Though, he could not be more pretentious and hypocritical about it. Sam Levison will complain about these people when he does the same thing. Levinson writes this conversation as if Hollywood could use his criticism and as if anyone had even asked for his opinion. His lack of creativity showed when he wrote Rue Bennet from Euphoria again in this film as Marie, which doesn’t provide anything to the story and only shows how his writing is disappointing.

Final Score: 1/5

Rating: 1 out of 5.

Megamind

And its dialogue

dir. Thomas McGrath, Dreamworks

The film strikes down with loved, funny, and original concepts, as I had never seen such well-written heroes myself. All of the characters are realistic and down to earth. From beginning to end, the film keeps you entertained by introducing each person’s arc and development. The motives are understandable, and we can’t help but cheer for everyone (except Hal, ew). Each character shapes into a new person by the end, discovering a new sense of purpose and environment. 

SPOILERS AHEAD

In the end, everyone got what they deserved, especially considering how everyone’s true colors showed throughout the movie. All of this happens because of the rich dialogue from the film. All characters are full of personality. Megamind’s purpose revolves around the last words he heard from his parents. A half-heard instruction as to what he was destined to do. After trying to be a good guy and failing, Megamind realizes that perhaps his destiny is to be the biggest “bad guy” the world had ever seen. A rivalry begins with Metro Man, the hero of Metrocity. Surprisingly, Metro Man seems to lose someday, putting the world of the story in crisis. The city, especially Roxanne, lives in fear and anger at what Megamind had done, and Megamind now is purposeless as he has no hero to fight. The dialogue is essential here, as the characters explicitly state how they feel about the situation. 

Later on, the characters’ conversations come to play when Megamind (as Bernard) and Roxanne are full of chemistry. We discover that maybe Megamind doesn’t want to be the bad guy, and Roxanne can be soft through their interactions on their dates. However, this causes disputes with Minion, who only wanted to protect his colleague. Worst of all, Hal. Hal believed he was owed a relationship after gaining superpowers, even though he was just a terrible person. 

Finally, Metro Man’s monologue.

Metro Man’s monologue proves he is the best thing a superhero could ever be: relatable. The man struggles with responsibilities and personal choices. Although it’s his responsibility to keep the city safe, he can’t help but crave personal freedom away from heroism (rightfully so). Rarely do heroes actually develop a personality (in this case, Metro Man wants to be Music Man) in which they have a passion and outer life besides saving people. Metro Man perfectly embodies this, as he states he never had a choice in his life, and all he wanted was to be free. 

Final Score: 5/5

Rating: 5 out of 5.
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