Hairspray Cast: John Travolta, Michelle Pfeiffer, Zac Efron Director: Adam Shankman
I walked in the theater without any idea what Hairspray was about.
I just know it’s jampacked with Hollywood A-listers.
Years after, it stands as my favorite musical movie of all time.
Years after, I also didn’t expect how much it would resonate to everything that’s going on presently.
A lot may have changed, but I think we’re as divisive and divided as we are before.
In the age of advancements and improvements in the context of diversity and inclusion, new challenges seem to take form.
One remarkable track from this film/musical is Without Love. I refuse to believe that we are not capable of giving love and taking love and living life. It honestly can’t get any simpler than that.
In the words of yet another track, We’ve Come So Far (But We’ve Got So Far To Go). Here’s to waking up to warmer mornings and sincere smiles and colorful days and peaceful nights because we stopped rejecting and hating and started accepting and loving.
Then a movie like this will only be a colorful reminder of a very distant memory.
The Conjuring 2 Cast: Patrick Wilson, Vera Farmiga, Frances O’Connor Director: James Wan
I miss you, Vera Farmiga.
And I’m really sorry I missed out on this season of Bates Motel.
I’m sure it was another excellent season. And I have no doubt you were spectacular, yet again.
I watched The Conjuring 2 last week and I’m amazed and I can’t help but declare my love. You executed it in a way that adds some depth in a character, which may be a challenge for a real, existing being (vs a fictional one). Simply put, you owned it.
Also, your screen presence is a refreshing alternative to seeing that demonic nun creature whose name I refuse to say in fear I might conjure it.
Life took a quirky new turn for a 60-year-old introverted data encoder upon a tragic loss in the family and a gain of a refreshing new friendship. Doris Miller (Sally Field) schemes her way at a chance at love with a younger guy, art director John Fremont (Max Greenfield). She has issues with letting things go. He has qualms about wanting to be taken in.
Pretty much like the main character, the premise of the film is rather old and tried. You watch it and you’ll find yourself saying, “I’ve seen this before.” In the same analogy, though, you’d realize that this light and charming drama is as sweet and endearing as our Doris — expectedly flawed but definitely worth rooting for.
One key piece of the character’s journey in the movie is her battle against her hoarding disorder. Clearly, it’s parallel to the emotional baggage and waste one might have a hard time letting go of. The cohesive writing in this film provided equal weight to this struggle. While she was reeling at a potential young love as a way of re-capturing the feeling she haven’t had for a long time, Doris’ hoarding disorder, while kept locked in at home, never took the backseat. And Sally Field’s skillful execution took things to a higher level. If she ever hoarded anything, it has to be exceptional acting and delivery, only she didn’t hesitate to let it out. And it turned out classy and marvelous.
In this age of emotional throwbacks and vintage, we obviously have things we refuse to detach from ourselves. We eventually, naturally or otherwise, come to terms and decide it is time to let go. And we have to. It’s the only ignition key we need to turn to keep things running. By running, I meant moving forward.
Personal Rating: 7.0 / 10 Watch it if you are: tired of comic book movies or cheesy formulaic rom-coms with subpar acting, a TV nerd who roots for TV stars when they appear on the big screen (New Girl! 2 Broke Girls! Brothers and Sisters! The OC!), a hoarder unnecessary crap, unable to let go of even crappier emotional junk, an EDM junkie, in need of a movie to bond over with your aunt or grandma