Valentine's Day: The Best Anti-Romantic Romance Movies

SPOILER ALERT: This post vaguely reveals the endings to the movies listed below. This is not to discourage you from reading, but I advise that you proceed with cautions. Although at this point, it's hard not to know the ending of "The Graduate."  


1. Eternal Sunshine of the Spotless Mind


Some common themes on this list are couples who act cutesy and people making big decisions without putting much thought into them. After breaking up, Joel (Jim Carrey) and Clementine (Kate Winslet) get the memories of their relationship erased, only to realize there was something there that was worth remembering. It's peculiar that movies about love going wrong have the most to say about love in general. Being treated to Joel and Clementine's relationship crumbling from the top to bottom is just as devastating as it sounds.The ending leaves a bittersweet feeling: they are finally getting back together again, but they are also subject to hate each other again as in their previous relationships. The question of whether or not the two of them are meant to be together, or if they constantly breakup because they truly hate each other, haunts me to this day.




2. Annie Hall


Sure, Alvy (Woody Allen) and Annie (Diane Keaton) have fun together and they both enjoy playing with live lobsters and making fun of Truman Capote lookalikes, but they are far from soul mates. Alvy is New York (close-minded, uptight) and Annie is Los Angeles (free-spirited, unpredictable). "Annie Hall" contains some of the grandest romantic moments in the movies (Alvy and Annie in front of the Brooklyn Bridge), yet in its ending, it reduces relationships to a need, and not a desire. Nonetheless, this is one of the most enjoyable instances of a failed relationship you'll ever be a part of.




3. The Graduate


Ben Braddock (Dustin Hoffman) sweeps in and saves Elaine (Katharine Ross) on the day of her wedding to tall, blonde, and handsome Carl. The shot of them sitting on the back of the bus together, laughing and smiling over what they have just done, could bring the hopeless romantic in all of us to tears. But then, reality, unhappiness, and ambiguity quickly set in. Maybe these two were acting on impulse and not calls of fate. Maybe they are making the same mistakes their parents once made, which they both wanted to escape from. The uncertainty of the future lies ahead for them, one likely filled with Vietnam War protests and occasional acid flashbacks.




4. (500) Days of Summer


Sure, Tom's (Joseph Gordon-Levitt) belief in true love is reaffirmed in the end when he meets Autumn, but the path to getting there is filled with doubt. Watching Tom be misled into a relationship with Summer (Zooey Deschanel) is as painful as it is funny. While Tom goes on a tirade against greeting cards and pop music, there is no need to start protesting Hallmark or plan a mass burning of Smiths records. Rather, try not to fall in love with someone because they also think "There Is A Light That Never Goes Out" is a good song. A lot of people like The Smiths.





5. Blue Valentine


Most of these movies end with the main character meeting someone who they at least think they will spend the rest of their lives with. If you were looking for a movie that could diagnose you with chronic depression, than look no further. "Blue Valentine" is about a marriage completely falling apart in grueling detail. Any movie that could make you want to punch Ryan Gosling in the face must be well made because seriously, nobody hates Ryan Gosling.* "Blue Valentine" is ultimately a cautionary tale, and its greatest lesson is that you should never marry anyone just because they can play your favorite song on the ukulele.

Other People's Songs are Lame



Blue Valentine

— MOVIECLIPS.com

*This is not an assumption
Thanks to friend of The Reel Deal Josh Fisher for the "Blue Valentine" suggestion.

Oscars '09: The Snubs

Melanie Laurent (Inglourious Basterds)- In a film powered by raw, unforgiving violence, Laurent was the true heart of "Basterds." Her emotional performance as a Jew hiding in Nazi-Occupied France truly brought sympathy for this lady vengeance. By the end, when she's become nothing but a hovering, etherial cloud of smoke, her human presence is never gone. No, it'll live on in "Too Good for the Oscars" immortality.

Michael Stuhlbarg (A Serious Man)- If voters were actually paying attention, Stuhlbarg would be the frontrunner for Best Actor. Of course, they weren't, because his brilliant performance was layered in deep, hilarious subtlety. For example, look closely as he waddles down his roof like a chicken as he spies on the woman of his dreams. The Coen Brothers couldn't have found a more perfect man to portray awkward, Jewish angst.

(500) Days of Summer- How could one of the most inventive comedies in years be totally snubbed, not even scoring in the Best Original Screenplay category? You know you've got a special romantic comedy when it seems easier to compare it to "Memento" than "It's Complicated."

Peter Capaldi (In the Loop)- Here is a man who deserves to be one of the most famous actors in the world. Capaldi let comedic sparks fly high with the handling of his character's incessant cursing. While his character is far from a joyous one, he doesn't seem to curse out of anger, but rather out of involuntary obligation. His impeccable line delivery helped make this dark comedy as dark and funny as a dark comedy can be.

Lance Acord (Where the Wild Things Are)- Technical work saves a tepid screenplay. Acord's cinematography, deeply observing the beauty of nature, becomes a story of its own. It's one of those films where you could turn down the volume, and just enjoy the incredible imagery.

Other Glaring Snubs: Matt Damon (The Informant!), Fantastic Mr. Fox (Best Adapted Screenplay), Brad Pitt (Inglourious Basterds), Neil Blompkamp (District 9), Alfred Molina (An Education), "Stu's Song" (The Hangover)

Golden Globes: A Night for Blue Aliens. And Mike Tyson

Well, mainstream comedy certainly has something to celebrate.

2010 marked the first time in years that the winner of the Best Musical/Comedy category at the Golden Globes was not a musical or a sophisticated indie black comedy. Rather, it was "The Hangover," a comedy that worked so well and basically earned* its award because it was just so refreshingly funny.

This might mean little for "The Hangover"'s Oscar chances. It probably has a slim shot at Best Picture, but a Best Screenplay nomination is likely its best shot.

Still, I don't see the Golden Globes as much of a predictor for the Oscars. I think it's more of a way of seeing what people in the inner film circles are excited about at the moment. In that case my thinking was confirmed, "Avatar" is the official frontrunner for Best Picture. Yes, voters walked onto Pandora, and now they simply can't seem to get away. Hopefully, they're not as crazy as these people. I'm not necessarily happy that "Avatar" is stealing the thunder from several other more worthy films, but I have to hand it to James Cameron: never in a million years did I think the entire world would fall in love with a three hour movie about ten foot tall blue-cat-monkey people.

The other film I suspected as a spoiler for "Avatar," "Up in the Air," faired only decently tonight. It took home a well deserved Best Screenplay award, solidifying it as by far the front runner for Best Adapted Screenplay.

Meanwhile, the two best supporting actors were officially confirmed as the front runners. Christoph Waltz was the first thing on everyone's mind from the second audiences first saw him ask for a glass of milk. Meanwhile, I knew Mo'Nique was the only imaginable winner from the minute I saw what was then called "Push" at Sundance.

Another big film, "The Hurt Locker," went home totally empt handed. However, it has been gaining much momentum lately so I do expect it to do much better at the Oscars. Plus, it's sweeping of the Critics Choice Awards were a very promising sign. That $12 million at the box office though, really isn't.

The lead acting categories are a whole other story. Robert Downey Jr. should be happy with his win for "Sherlock Holmes" and expect nothing further. While George Clooney still has something of a shot, Jeff Bridges seems like the real man to beat right now. I haven't seen Bridges' performance in "Crazy Heart" yet, but to Bridges' awards success I say: Dude Abides.

The most unpredictable category this year is the Best Actress category. There are four very possible candidates right now, and two who equally have a clear shot at winning. Meryl Streep has a good shot for "Julie & Julia" simply because, she's Meryl Streep. Plus, her performance has gotten nothing but absolute raves. Sandra Bullock's performance in "The Blind Side" also has a very good shot. Not only has she been lauded for her performance, but the film itself has become something of an underdog. Its amazing box office success was expected by no one. Perhaps this could play into votes.

Unfortunately, there still seems like little hope for "Inglourious Basterds" besides Christoph Waltz. I have a good feeling "Basterds" might've won Best Screenplay tonight if the Globes split it up into two separate categories. Only the WGA Awards will be able to answer that. In the mean time, Tarantino will have to wait another few years for his long deserved Best Director Oscar. If Scorsese (who was honored tonight) could wait 40 years, then so can he.

On a side note: am I the only one bothered by the fact that Best Drama always seems to be more significant to analysts than Best Comedy? Seriously, when will people start taking Comedies more seriously.

*I would've voted for "(500) Days of Summer." "The Hangover" might've been the funniest comedy of the year, but it wasn't the most brilliantly made.

Full List of Winners Here.

Summer '09 in Movies

Summer 2009 came and went. It was a summer of record highs and record lows. No, I’m not talking about the temperature; I’m talking about what happened inside the movie theater. Every summer, Hollywood tries to blow away audiences with high budget blockbusters and high concept comedies. This summer, as with any summer, a select few struck a chord with moviegoers. Now is time to examine the 2009 summer in movies.

Summer started strong. To no one’s surprise, Pixar scored another hit with “Up.” Even without 3D glasses, “Up” was as stunning as it was moving.

Perhaps the biggest surprise of the summer came earliest: “The Hangover.” What at first seemed like a typical buddies-go-to-Vegas-comedy turned into the funniest movie of the summer. What made the film work so well was it’s mixture of psychological thriller with slapstick comedy and Carrot Top cameos.

Perhaps the two most anticipated comedies of the summer, “Bruno” and “Funny People,” did not quite win over audiences. Of all the movies this summer, these two no doubt alienated audiences the most. I, however, was on the side of admiration. While “Bruno” didn’t reach “Borat” levels of hilarity, it’s impossible not to be impressed by Sacha Baron Cohen’s shameless audacity and ability to get a laugh even in the most frightening situations.

“Funny People” is the third film directed by Judd Apatow (“The 40-Year-Old Virgin,” “Knocked Up”), and certainly his most different. It’s his first film dealing with death, and his first one with an organized plot structure reaching an unknown conclusion rather than a plot that was a string of unpredictable events leading to a known conclusion. I don’t know which approach is better but in the end, both work.

Perhaps summer’s biggest disappointment was “Public Enemies.” What could’ve been a classic Depression-era crime thriller on the level of “Bonnie and Clyde” turned out to be a giant dud, and a waste of the brilliant talents of Christian Bale and Johnny Depp. Perhaps the main reason is that Michael Mann (“Collateral”) only seems to want to direct action, and not characters. On that note, he can’t direct action sequences very well either.

As for the big blockbusters, it was a mixed bag. “Star Trek” scored major points. I did not see “Transformers 2” or “G.I. Joe,” because the movies-based-on-toys trend is one that must soon come to a halt. The tonic to this Hollywood’s blockbuster problem was the stunning “District 9.” Maybe it was such a cure because it was more Cape Town than Tinseltown as it was shot by first time South African filmmaker Neill Blomkamp. The film managed to mix bizarre sci-fi fantasy with an allegory on apartheid and immigration. It was the perfect mix of action and brains I was searching for all summer long.

As usual, the best summer fare came from the art house. Kathryn Bigelow’s “The Hurt Locker” is the Iraq War film this generation has been waiting for. Shot eerily like a documentary, “The Hurt Locker” is perhaps the most realistic look at the war put on screen so far. It’s about a bomb diffuser so whenever a bomb goes off, naturally it goes off in slow motion; you can watch metal melting off a car as a bomb goes off. Michael Bay could learn a thing or two from a film like this.

This summer’s “Little Miss Sunshine” Award for indie surprise goes to “(500) Days of Summer.” While commercials have portrayed the film as a romantic comedy, it is far from that. It is the most inventive anti-romantic comedy you’ll see in a long time.

This summer’s award for best film came late. It is one that I should’ve seen coming though: “Inglourious Basterds.” Quentin Tarantino (“Pulp Fiction,” “Kill Bill”) is at the top of his game, employing Spaghetti Western style to Nazi occupied France.

What is it that an auteur like Tarantino proves about this summer in movies? Well, he proves that in the end, originality always wins.

That One Scene: (500) Days of Summer

"That One Scene" is a new (and hopefully recurring) series on The Reel Deal where I examine that one scene in a certain movie that sets it apart from all others.

I hate having to answer the question "what do you think is the most important part of a movie" because it is simply impossible to answer. Every part of a film contributes to how good the final product is. Without good actors, the character's don't seem real; without good writing, the situations don't seem real, and without a good director the whole project falls apart.

However, there is always one part of a film that always stands out to me. One thing that in my eyes that can make or break a film: dialogue. Whether or not the characters have believable banter is what contributes to an entire film feeling realistic or not. That is the particular reason why Judd Apatow and Quentin Tarantino are the best scribes currently working in Hollywood.

I would like to bring up a very recent example of great dialogue. It is a very short scene from "(500) Days of Summer." This snippet of dialogue might not seem like much when read aloud, but when put in the context of the film, it is incredible:

Summer: Is that true?

Tom: Yeah, yeah. He drinks and he sings...

Summer: No, no not Mackenzie. The other thing.

Tom: What thing?

Summer: Do you...like me?

Tom: (Pause) Yeah, yeah of course I like you.

Summer:...As friends?

Tom: Right. As friends.

Summer: Just as friends?

Nothing remarkable sounding here. But yet, there is. Even when not hearing this in the context of the film, there is something beautiful about this dialogue's simplicity. In it's simplicity, it feels so real. In it, Summer isn't really asking for an answer she doesn't know, she is just asking for confirmation for something she believes has to be true.

But that's not the point. When you see this scene in the movie, you will realize everything about it is perfect. The surroundings of the scene seem totally irrelevant; everything is focused on Tom and Summer because it is all about them. This is their moment; their first moment where they see that something other than friendship may be possible in the near future.

Gordon-Levitt and Deschanel deliver the dialogue flawlessly. Every emotion they convey is perfectly entwined with every word they speak. They add a level of friendly awkwardness that no script can convey on it's own. It is the true essence of onscreen chemistry: two people (typically a man and a woman) being able to communicate with each other at a realistic level, whether for positive or negative reasons.

I recall a line from Roger Ebert's "Pulp Fiction" review in which he says "this movie would work as an audio book." What he's saying that when dialogue is good, sometimes listening can defeat watching.

Good dialogue is like good music, you can listen to it over and over again. That is the case for this scene of "(500) Days of Summer." It is no complex, witty conversation about hamburgers or foot massages but simply an intimate moment between two strange souls. It is not just the words you want to listen to over and over again, but the delivery.

If "(500) Days of Summer" gets nominated for Best Original Screenplay at the Oscars this year (which I 100% guarantee you, it will), this will be the clip shown when its title is announced.

The next installment of "That One Scene" will discuss the "Ride of the Valkyries" scene in "Apocalypse Now."

Movie Review: (500) Days of Summer

Ad campaigns can often be misleading. They can make a bad movie look good, and a good movie look bad. Other times, they can make a totally original, breath of fresh air seem like a cliche drag. That was just about the case for "(500) Days of Summer." All I can say is, the final product totally proved me wrong.

The first surprise (unless you've heard anything about this movie prior to seeing it) is that "(500) Days of Summer" is not about a season, but rather about a girl. The film gives us another surprise at the very beginning: this is not a love story. After telling us this, the film begins around day 400 and something. Tom (Joseph Gordon-Levitt) is beyond heartbroken.

Why is he heartbroken? 400 something days earlier, Tom, a failed architect who now works as a greeting card creator, meets Summer (Zooey Deschanel). The minute Tom lays eyes on her, he believes he's found the one and only love of his life. Tom and Summer have very different views on love: Tom believes there's one true love for everyone; while Summer is too free spirited to believe that relationships can even exist.

From there, the film tracks the relationship between Tom and Summer. It tracks the very highs, and the very lows. It tracks the moments of real love, the moments of fake love, and the moments of utter resentment. And it does all of this in no particular order.

The structure of the film feels more Tarantinoesque than romantic comedyesque. At one point, we'll be at day 3. Then suddenly, day 188. Day 1. Day 422. Day 57. Day 12. It'll then go back and repeat certain events over and over, but from different perspectives. Maybe a smirk was actually a frown. That's something most films don't do nowadays: stop, look around, and observe.

The film feels like one of those gangster films where a group of failed criminals get together after a botched crime and look back at everything that went wrong; except this time, it's not a botched heist, but a botched love. But was there even love in the first place? Decide for yourself.

The romance part of "(500) Days of Summer" is debatable, but the comedy part certainly is not. While the film has some hilarious dialogue, it doesn't rely on throwaway one-liners to get laughs. It relies on small things, such as tiny edits or little facial expressions to arouse laughter. It might get a laugh out of the deadpan way Summer describes her college nickname, or the order in which it places a certain scene.

Every shot of "(500) Days of Summer" is brimming with energy and life. That's not surprising considering the film is directed by Marc Webb. Before directing this film, Webb was a music video director. Much of the film has the energy and surreal feeling of a music video, as certain scenes will suddenly turn into elaborate drawings while characters churn out giant musical numbers. Many of these creative touches might seem out of place, but they all serve a greater purpose. I can't reveal that purpose hear; you'll just have to see it for yourself.

Every step the film took, I kept waiting for it to mess up. I didn't want it to mess up, but I just couldn't believe a movie could be this perfect. It was hard to believe that the director and the writers could take the right step at the right time during every single moment of the film. Even though it doesn't flow in any sort of chronological order, the film still flows like water. And it's aided at every moment by the anti-chemistry Deschanel and Levitt display. I'm not saying the two actors go poorly together, I'm just saying that this is no ordinary love story. "(500) Days of Summer" is anti a lot of things. Although it is an indie comedy, it plays like the anti-"Garden State."* That is, it challenges all conventional thoughts on love. Love doesn't form because the girl you like also likes The Smiths. But, I can't go into it in much more detail; I'll just let the film speak for itself because sometimes, the best films need to speak for themselves: "Just because some girl likes the same bizarro crap you do, that doesn't make her your soul mate."

Recommended for Fans of: Eternal Sunshine of the Spotless Mind, The Graduate, Annie Hall, Garden State, Reservoir Dogs, Pulp Fiction

*Note: This comment is not meant to insult "Garden State" in anyway. "Garden State" is a different, but equally good film.