Showing posts with label doctors. Show all posts
Showing posts with label doctors. Show all posts

12 June 2013

12 June - "Philosophy failed. Religion failed. Now it's up to the physical sciences."

Flatliners (1990)

dir. Joel Schumacher (Batman Forever, 1995)

CAST
Kiefer Sutherland (Twelve, 2010)
William Baldwin (The Squid and the Whale, 2005)
Oliver Platt (X-Men: First Class, 2011)
Julia Roberts (Mary Reilly, 1996)
Kevin Bacon (X-Men: First Class, 2011)
Beth Grant (Rango, 2011)
Benjamin Mouton (Basic Instinct, 1992)
Kimberly Scott (Batman Forever, 1995)
Julie Warner (Tommy Boy, 1995)
Patricia Belcher ((500) Days of Summer, 2009)
Jim Ortlieb (Home Alone, 1990)
Angela Paton (Joe Dirt, 2001)
Ingrid Oliu (Stand and Deliver, 1988)

I'm not sure what genre to categorize this as. It may just be a tame horror movie, but you may just want to generically slot it under suspense or drama. When in doubt, do as my friends at Vision Video do, and put on the drama shelf. The premise is that a group of medical students--and I would love to know where they filmed the creepy, converted-seminary hospital scenes--kill and then resuscitate each other into order to explore the phenomenon of near-death experience. They discover that experimenting with brain-death gives them quite a scare, and each character (except for Oliver Platt) is forced to face the wrongs they have committed in the past.

As I said, this movie has remarkably lovely (in a spooky way) sets which feel as if they are heavy with symbolism but probably aren't (just like a Wes Anderson movie). The character development is subtle but effective, you feel as if you know enough about each person by knowing very little. It's the kind of conservative scriptwriting that I find most appealing in movies. I think this is a greatly underrated movie, especially for it's now-they're-super-famous cast and delicate subject matter. The tone remains clinical even as the symptoms begin to defy a clinical explanation.

15 February 2012

22 Feb - "I want you to punish me"

A Dangerous Method (2011)
dir. David Cronenberg (Eastern Promises, 2007)

CAST
Keira Knightly (Never Let Me Go, 2010)
Viggo Mortensen (The Lord of the Rings: The Return of the King, 2003)
Michael Fassbender (X-Men: First Class, 2011)
Vincent Cassel (Black Swan, 2010)
Sarah Gadon (Cadet Kelly, 2002)

Last week I invited some of the ladies in my program to go to the movies with me. I was excited because I'm not usually the social event "planner" - there's a lot of responsibility and potential disappointment in that role, even if it's something silly like going to the movies. I was nervous for a while because I waited ten minutes out front and nobody came! But then it turned out they were inside already, so good. Social activity accomplished.

I think I do not like the character of Carl Jung. He was kind of a dick. His relationship with Keira Knightly's character reminds me of a challenging relationship that one of my friends is dealing with. Not with the sadomasichism and spanking (that I know of), but in that he's giving her a lot of grief with pushing and pulling and he says that he cares about her but also that he doesn't want to be with her (or the quintessential avowal of someone truly spineless: he can't be with her). And it pisses me off because behavior like that is truly self-indulgent. You can't have your cake and eat it, too. At the end of the day you have to make a decision, and the sooner you decide the less heartbreak there is all around. That's what I think. Carl Jung: Royal butthead.

12 February 2012

11 Feb - "as far away from the darkness as we can possibly get"

The X-Files: I Want to Believe (2008)
dir. Chris Carter


CAST
David Duchovny (Evolution, 2001)
Gillian Anderson (Princess Mononoke (voice), 1997)
Amanda Peet (The Whole Nine Yards, 2000)
Bill Connolly (Pocahontas (voice), 1995)
Mitch Pileggi (X-Files: Fight the Future, 1998)
Xzibit (Hoodwinked! (voice), 2005)
Adam Godly (Love Actually, 2003)
Callum Kieth Rennie (Case 39, 2009)
Stephen E. Miller (Best in Show, 2000)
Lorena Gale (Snow Day, 2000)
Donavon Stimson (Fantastic Four, 2005)
Dion Johnstone (Dreamcatcher, 2003)
Sarah-Jane Redmond (Case 39, 2009)

Thus ends the era in which I had yet to see all nine seasons of The X-Files plus two feature films. This last movie was released a few years after the series had already ended. At the end of the series, Dana Scully and Fox Mulder left the FBI and fled the UNited States, because they knew too much. An impeding Alien invasion was alluded too, indicating that it would never truly be blue skies for our star-crossed investigators.

X-Files had two basic episode structures. There were episodes that propelled the mythic arc and related to a conspiracy to cover up an colonization program and the creation of human-alien hybrids. There were also monster-of-the-week episodes, in which Mulder and Scully had to discover and defeat some sort of paranormal menace within the confines of a single episode. This movie could only be said to conform to the latter model, and it wasn't particularly interesting at that.

23 December 2011

13 Dec - "Obviously, doctor, you've never been a 13 year-old girl"

The Virgin Suicides (1999)
dir. Sofia Coppola (Lost in Translation, 2003)

CAST
James Woods (Final Fantasy: The Spirits Within (voice), 2001)
Josh Hartnett (The Faculty, 1998)
Kathleen Turner (Peggy Sue Got Married, 1986)
Scott Glenn (The Silence of the Lambs, 1991)
Danny Devito (Romancing the Stone, 1984)
Hanna Hall (Forrest Gump, 1994)
A.J. Cook (Final Destination 2, 2003)
Robert Schwartzman (The Princess Diaries, 2001)
Kirsten Dunst (Elizabethtown, 2005)
Hayden Christensen (Star Wars: Episode II- Attack of the Clones, 2002)
Giovanni Ribisi (voice) (That Thing You Do!, 1996)

This movie is one of those surprising examples of how Kirsten Dunst can act pretty damn well when she's cast in the right role. In fact, this movie was surprising in a lot of ways, and it was better than I anticipated. It was sort of like a mystery movie, as you know when the movie starts that these girls aren't going to make it, and you keep watching as you're guided through the film by a third-party narrator, studying their words and their faces to try and figure out what was so wrong with life that these five pretty sisters decided it wasn't even worth trying anymore.

I think there are two ways you can look at it. One the one hand, you might think that the girls are a bit narcissistic, and that the drama of strict parents and boys who don't call back (am I right?) was the only impetus for them to make some grand gesture indicating that they were simply fed up with all the bullshit. After all, they were too young to know actually misery. They had nice parents and a nice home and everyone liked them. Right?

But I think that theory doesn't really add up under a closer scrutiny. At least, not in a poetic, cinematic world. I think maybe the girls were suffering from a severe case of ennui, and having briefly tasted love, adventure, etc. were frustrated to discover that this was all life had to offer, and decided to opt out for lack of anticipation. Peter Pan style: "death will be an awfully big adventure."

But the movie was intentionally unclear. Our narrators adore and admire the sisters from afar, intimately collecting the details of their lives, but never actually try to befriend the girls discover what they really are. And so there's also an tone of loneliness to the movie. I suppose that's the nature of loss. Never knowing what lies at the core of someone else's heart, then suddenly that person isn't there anymore, and you're never certain why she left or how life could have been different.

11 December 2011

4 Dec - "What happened to all the celestial fire?"

Don Juan DeMarco (1994)
dir. Jeremy Leven

CAST
Marlon Brando (A Streetcar Named Desire, 1951)
Johnny Depp (Rango (voice), 2011)
Bob Dishy (Jungle 2 Jungle, 1997)
Rachel Ticotin (Sisterhood of the Traveling Pants 2, 2008)
Stephen Singer (The Happening, 2008)
Faye Dunaway (The Rules of Attraction, 2002)
Tommy 'Tiny' Lister (The Fifth Element, 1997)
Tom Mardirosian (Lady in the Water, 2006)

This is one of those relative reality movies like Big Fish or The King of California (now that was a good movie). Our hero Don Juan, played by Johnny Depp, is probably crazy, but he also has these occasional moments of self awareness that suggest he consciously prefers the illusion to the reality, and then of course there's little snags that suggest the merest possibility that he's actually telling the truth, but no, that would be impossible. So this guy Don Juan, who dresses like Zorro, has to undergo a ten day psychological evaluation to determine if he will be committed. His psychiatrist is  retiring in exactly ten days, and is determined that Don Juan should be cured in that time. The primary narrative focus is Don Juan's self-reported life story, his sexual exploits and the loss of his one true love. We also get a sub plot of Marlon Brando's character battling with his own life's expectations and making a mad grab at the sense of drama and romanticism that Don Juan represents. I guess the point is that life is what you make it, and if you are unhappy with reality as it is working out, just do something different.

09 December 2011

2 Dec - "you can give up, let yourself go, or grit your teeth and hang on like stupid people do"

Biutiful (2010)
dir. Alejandro González Iñárritu


CAST
Javier Bardem (Collateral, 2004)

I watched this the other night with a fella I've been seeing briefly but I'm not certain at all it was the best choice for a date night (I have a bad track record with picking movies to watch with guys I'm interested in). It was too sad in all sorts of ways. It's about this guy who's got cancer in a bad way and his family is all messed up and he's trying to make it right and there's some human trafficking going on as well. I think it was trying to get at this relationship between Beauty and Ugliness and Love and Hate and sometimes you really really hate someone but at the same time you love that person and it sort of tears you up inside.

I guess it has something to do with that idea that every person you love is going to break your heart someday.

I don't mean to wax sentimental, but due to the circumstances I didn't have the opportunity to be emotional when the feelings hit me the first time around. There's a lot of little details to reflect on in this one.

31 October 2011

25 Oct - "I thought you were planning to stay awhile, but perhaps my sense of smell deceives me"

Mary Reilly (1996)
dir. Stephen Frears (Dirty Pretty Things, 2002)

CAST
Julia Roberts (Hook, 1991)
John Malkovitch (Burn After Reading, 2008)
Michael Gambon (Harry Potter and the Deathly Hallows Part 1, 2010)
Glenn Close (The Big Chill, 1983)
Michael Sheen (Timeline, 2003)
Bronagh Gallagher (The Commitments, 1991)
Ciarán Hinds (There Will be Blood, 2007)

Here's another spooky movie I watched before Halloween. It's about Dr. Jekyll and Mr. Hyde, from the perspective of the good doctor's maid, the title character. The twist is that it's also sort of a love story. Jekyll/Hyde loves Mary because of her innocence, and Mary loves Dr. Jekyll as well as his evil incarnation. The big question is why, and how is Mary able to love Dr. Hyde even when she knows that he is a vicious heartless killer. Part of it must have something to do with her abusive father. A connection is established when Mary describes him as having a peculiar way of walking, not quite a limp, and later the housekeeper uses almost the same words to describe the gait of Mr. Hyde. At the end of the movie, however, Mary is unable to forgive her father for his sins, but she has no hesitancy in forgiving Dr. Jekyll. I haven't quite figured that out yet.


I read The Strange Case of Dr. Jekyll and Mr. Hyde, and I remember that no symbolism was more salient than the description of the architecture. Luckily, the filmmakers behind Mary Reilly acknowledged this importance and even amped it up a little. Dr. Jekyll's main house is separated from the laboratory by a small courtyard. The laboratory represents the cruelly analytical and mysterious person of Mr. Hyde. However, in the movie the courtyard space itself takes on a symbolic form. Mary Reilly asks if she can plant some flowers in that area, to brighten it up a little. When the flowers finally show up, they are terribly depressing little colorful things barely penetrating the heavy gloom that seems to hang perpetually over Victorian Era England. Thus Mary herself assumes the role of the bridge that connects Jekyll and Hyde int one man.

What I never figured out, or forgot, about the story is whether Dr. Jekyll was attempting to isolate his dark side in order to attain pure morality in his actual person, or whether he was seeking a release from the enforced sociality of his culture. Either way, I do remember that he is seduced by the apparent freedom of Mr. Hyde and his lack of conscience, but as Mary points to the good doctor, there are no actions without consequences and the burden of Mr. Hyde's crimes, combined with Dr. Jekyll's even weakening resolve to remain his true self, ultimately destroys the man.

23 October 2011

Oct 19: "I didn't mean to call you meatloaf, Jack"

An American Werewolf in London (1981)
dir. John Landis (Three Amigos!, 1986)

CAST
David Naughton
Jenny Agutter

Griffin Dunne (My Girl, 1991)
David Schofield (The Wolfman, 2010)
Rik Mayall (Drop Dead Fred, 1991)
Frank Oz (Star Wars Episode V - The Empire Strikes Back (voice), 1980)
Alan Ford (Lock, Stock and Two Smoking Barrels, 1998)
John Landis (Spiderman 2, 2004)

Oh, man! It's October and were are counting down the days until Halloween. Because it's relevant to a movie I've posted about on here, I think I'll post a picture of myself in costume. It's sort of in that trite theme of a "sexy" something, but hopefully you'll see that I've made it my own. Plus, you all know I wouldn't wear something truly indecent.

So! My first horror movie is a classic that I've been meaning to watch for a while, An American Werewolf in London. Let me tell you, it's not quite what I expected, but it was still some quality stuff.

It's about these two American guys who are backpacking across Europe, except they run afoul of a deadly beast. Jack gets killed, but David is far less lucky (drama!). The transformation scene is quite gruesome. but my favorite parts are when Jack returns to talk to David as a member of the cursed undead. Everytime appearing more and more decayed. Jack keeps pushing David to kill himself, because the victims of the wolf are trapped in Limbo until the wolf's bloodline is severed. Jack is joined by more and more of David's victims, but of course David can't quite bring himself to suicide, because he has someone to live for, Nurse Alex.

And so he runs amok in London. Including through the tubes, as in this particularly well shot scene:
you know I don't usually notice things like camerawork, I'm more about the stories. But this shot was so good I had to rewind a little to look again. You see the wolf just slightly creeping in from the top of the frame, and the victim has fallen down on the escalator and he's frozen in fear. It was very scary. But there are funny parts too, like when David wakes up in the zoo after his rampage:
In the 80s a little bit of public hair wasn't such a big deal. A few times you can sort of see what my little brother calls the tenders, but just quick. That would never happen in a modern movie. No winkies (this is why I don't have a boyfriend) at all, only breasts and butts. I remember the first time I saw a dude's tenders in a movie, it was What Alice Found (2003) which was playing on the Independent Film Channel. I was shocked! I didn't know that was allowed. The first time I saw lady-tenders in a movie was, I think, Animal House (1978, also John Landis), but I don't remember how old I was when I watched that (not old enough!). But in both of those movie the purpose of the nudity was blatantly sexual, and that's not the case here. That's my point: nudity doesn't have to be sexy.

I guess I won't spoil the ending but I will say that it's stark and abrupt. It seems like only modern movies feel that it's necessary to ease you out of the storyworld by letting you know that all the characters are going to be OK.

12 October 2011

8 Oct- "He's five-nine, which is kind of short, but he's read The Great Gatsby twice"

The Ugly Truth (2009)
dir. Robert Luketic (Legally Blonde, 2001)

CAST
Katherine Heigl (Knocked Up, 2007)
Gerard Butler (Timeline, 2003)
Bree Turner (Dunston Checks In, 1995)
Nick Searcy (Fried Green Tomatoes, 1991)
Jesse D. Goins (WarGames, 1983)
Cheryl Hines (Along Came Polly, 2004)
John Michael Higgins (Blade: Trinity, 2004)
Bonnie Somerville (Bedazzled, 2000)
Yvette Nicole Brown (The Island, 2005)
Nathan Corddry (The Invention of Lying, 2009)
Blake Robbins (The Bling Ring (TV), 2011)
Kevin Connolly (The Beverly Hillbillies, 1993)
Valente Rodriguez (Erin Brockovitch, 2000)
Jamison Yang (Transformers, 2007)

Cora made me watch this but she promised that next time I get to pick the movie and I already know that I'm either going to choose The Last of the Mohicans (Because she's never seen it!) or Beautiful Girls.

This is Judy Greer with a puppy
This movie had some funny lines, all these rom-coms do, but it was terribly predictable, even in the madcap zany scenes where everything goes wrong. The characters were awfully archetypal; she's a workaholic and overbearing and drives away all of her dates, he's lewd and uncaring. Except it's because he's had his heart broken, and she's pretty nice once you get to know her.

What distracted me the most, though, was something about how the assistant/friend played the same character that Judy Greer usually plays and they made her up to look a lot like Judy Greer too, and that was really distracting because I kept trying to confirm that it was not, in fact, Judy Greer.

This is Bree Turner, a younger and prettier Judy Greer?
I don't know what else to discuss here. The only thing that's remarkable about this movie is how unremarkable it was. This is the most straightforward romantic comedy I've ever seen, absolutely no new ground has been broken here. I'm pretty certain that every gag in it already occurred elsewhere.

But I'm trying to be more positive, so let's talk about
solutions, not problems. First of all, Katherine Heigl was way too attractive to play that character. Am I supposed to believe that menfolk will make NO accommodations for an obscenely pretty face? That's ridiculous. All of the other romantic movies I've seen have demonstrated that men will go to great lengths to win the favor of fair ladies, and the guy in this movie won't even tolerate Heigl picking out a restaurant for their first date. Ludicrous.

30 April 2011

28 April- "I don't want to be one of those things. Walking around without a soul"

Resident Evil (2002)
dir. Paul W.S. Anderson

CAST
Milla Jovovich (Ultraviolet, 2000)
Michelle Rodriguez (Avatar, 2009)
Eric Mabius (Cruel Intentions, 1999)
James Purefoy (A Knight's Tale, 2001)
Joseph May (Fairy Tale: A True Story, 1997)
Heike Makatsch (Love, Actually, 2003)
Stephen Billington (Braveheart, 1995)

So, this movie was based off of a video game, right? I don't know anything about that, but I can imagine how the disjunct plotline would lend itself well to a video, with one boss needing to be defeated before moving on to the next series of challenges.

I liked the beginning. I liked how the hero woke up with amnesia and I was able to tell she had amnesia without her saying something chintzy like "Where am I? Who am I?"

I like Milla Jovovitch. Unfortunately all her movies are awful science fiction fare, with The 5th Element clearly rising to the top of the pot. I wonder when this is, maybe she just can't hack a heavier role. But if I'm going to complain about an actress it's going to be this girl:

Is anyone else totally tired of Michelle Rodriguez? I find myself resenting her very existence because she is written into every single science fiction movie as this caricature of a strong female and a pale homage to Private Vasquez in Aliens.
Is this what you're going to base your career on, Michelle? A Jewish woman in brownface? Is a token Latina any better (worse?) than a token Black Man? And like that counterpart, Michelle Rodriguez always dies before the movie ends.

On the other hand, it's cool that woman are increasingly being cast in parts that aren't distinctively "feminine" (i.e. Rain Ocampo was essentially gender-neutral, and could have been played by a man or a woman, where previously this sort of role would have only been played by a man as women wold only be in movies as mothers or sex objects) and for this the Michelle Rodriguez "character" should be lauded, because here we have a role model showing that is perfectly acceptable for a female to have a story arc that doesn't involve a man as a protector or a love interest.

Of course, the whole point of of casting more women in gender-neutral roles is undermined if you give all of the parts to Michelle Rodriguez. And that's why I made that sort of uncouth reference to Pvt. Vasquez (Which I regret a little, because Pvt. Vasquez was awesome). While Michelle Rodriguez is not overtly racialized in her roles (you know, like getting all up in your face with the Spanish slang) I know that part of the reason she keeps getting cast is that the movie execs want a minority female in their movie, and I get it, and it's important to represent, but if the Hispanic woman keeps getting cast as stereotypically violent and impulsive, it's problematic.

First of all, it's saying something very essential and wrong about Latinas (If you fuck with her, she will cut you), and second of all, it's saying that a white woman, or a black woman, and especially not an Asian woman or an Indian woman or (God, help us) a Mid-Eastern woman could ever fill that kind of role because it's too aggressive and too dominant and too uncontrollable and it would make the (predominantly white male) audience uncomfortable.

So I meant to talk about Resident Evil and movies based off of video-games, and then I decided to rant about this instead. I think it's important to keep in mind that even the shitty movies are trying to tell you something about yourself--maybe especially the shitty ones, since they are so willing to pander to cultural norms and appeal to the lowest common denominator--and it's in the details, the side characters and subplots, where the broader narratives are played out. So yeah, Milla whooped some zombies, and looked hot doing it, but why did we want to see a movie about zombies in the first place?

05 April 2011

5 April- "But you did not persuade me, Nicolas! You did not persuade me!"

The Last King of Scotland (2006)
dir. Kevin Macdonald

CAST
Forest Whitaker (Fast Times at Ridgemont High, 1982)
James McAvoy (Atonement, 2007)
Kerry Washington (Fantastic Four, 2005)
Gillian Anderson (Princess Mononoke (voice: American version), 1997)
Simon McBurney (The Golden Compass, 2007)
David Oyelowo (The Help, 2011)

Holy shit! I watched a real movie with a REAL SERIOUS plotline that's BASED ON REAL LIFE and it's not a comedy, there's no science fiction OR fantasy OR animation at all.

It's been a while, gang. I guess the last one that counts for all that is Dirty Pretty Things, which I watched a whole month ago.

Why do we like movies about Africa? The first reason is the soundtracks, and I will call out shenanigans if you say different. The first reason is the soundtracks and so here is John William's "Dry Your Tears, Afrika" from the movie Amistad, you may play it while you enjoy the rest of my writing here.


The other reason, I'm pretty sure, it what one of my more advanced colleagues today called "Poverty Tourism" and that has to do with the catharsis we (and I apologize if I am incorrectly categorizing you with myself) get when we someone doing worse off than us. I think that analysis might be applicable to The Last King of Scotland, especially because while Forest Whitaker is on the DVD cover, the protagonist is young and pale James McAvoy who keeps us all grounded in this adventure of African politics.

I may watch this movie again someday and pay particular attention to the portrayal of the English in this movie. The filmmakers were quite right in remembering that you cannot talk about African politics without referring to the legacy of colonialism and reminding us how difficult it is, to paraphrase Audra Lourde, to use the master's tools to unmake the master's house. Those English guys are smarmy folks, we are introduced to Simon McBurney's character when he tells the protagonist that a firm hand is all the African understands. As Amin's true fearsome characters becomes gradually revealed, the English, however, quickly appear to be the lesser of two evils, but evil nonetheless. McAvoy goes to the Englishman Stone to ask for help fleeing Uganda, and Stone tells McAvoy that he has to murder the president, leading to a series of events culminating into the climax of the film.

So who's the real villian, is it Stone representing the patriarchal colonial powers meddling in affairs that shouldn't concern them, or is it President Amin, a soldier placed in a position of authority consolidating his authority through a regime of terror? Can one exist without the other?

I think what we are meant to understand is that Amin is very bad guy, unfortunately, he never had a chance, and if he had resisted the power and the corruption someone else would have taken that role anyway. I think what we are meant to understand is that these dictators are inventions of historical context and colonialism, no different from the invented countries and the invented tribes that they terrorize.

14 December 2010

Dec 12 - "I have never known anybody who actually believed that I was enough"

Love and Other Drugs (2010)
dir. Edward Zwick (Glory, 1989)

CAST
Jake Gyllenhaal (Jarhead, 2005)
Anne Hathaway (Alice in Wonderland, 2010)
Oliver Platt (Lake Placid, 1999)
Judy Greer (Jawbreaker, 1999)
Hank Azaria (Pretty Woman, 1990)
Jill Clayburgh (Running with Scissors, 2006)
Kimberley Scott (Flatliners, 1990)

I've begun that bad habit where I end up seeing movies that I EXPLICITLY pointed out not wanting to see. I saw this one a few days ago with my stepmother and my aunt, and I can't remember any lines from the movie to put in the blog title, and since it's so new I can't look up any lines on the internet.

So I had to go to the movies with my Aunt Holly and my Stepmother Sarah. I thought: Oh! Let us view Love and Other Drugs for some innocuous fun times! Aunt Holly invited a septuagenarian friend!

And here's why you have to do your research before heading to the cinema, everybody: 1) Cyrus was not very funny at all; 2) Love and Other Drugs has a LOT of sex in it. And bare asses. And so many breasts. SO I was a little chagrined to see so much nudity and getting-it-on with relatives present. But actually, Aunt Holly is a good sport and went off on how Anne Hathaway talked about her nude scenes with Jay Leno but that Jake Gyllenhaal seemed more reticent to do so.

On the whole, I could see how much of this sexiness was important to further the story. However, I think a few times, like the part where Gyllenhaal's character
and his brother (I just realized that the female lead has no friends) go to a "pajama party" which only functions to drive home the point that neither is into chasing skirts anymore.

The female characters, besides Hathaway's, are all shallow and transparent. They are either conventionally pretty or else pointedly unattractive (Sorry, Judy Greer, I still like you). Either way, they are falling over themselves to impress Gyllenhaal (The one lady who rejects him, a successful pharmaceutical rep., does an abrupt about face near the end and gets its on with Gyllenhaal and another lady). Basically, all women are interchangeable and whorish, except Anne Hathaway's character because she is "scared of being vulnerable." Because only reclusive artists can have emotional pain, right? It couldn't be that Judy Greer's receptionist character had some shit going down inside her as well. Because she's plain, and acts nice to her friends anyway, and smiles when she meets a cute fella'. Whatever.

My LEAST FAVORITE trope in film = The free spirit. (I hope i didn't go off about this already)
Guilty Parties
1) Natalie Portman as "Sam" in Garden State (2004)
2) Zooey Deschanel as "Summer" in (500) Days of Summer (2009)
3) Charlize Theron as "Sara" in Sweet November (2001) - I suppose the same could be said for Sandy Dennis in the 1968 original, but in my opinion that movie invented the trope, so it doesn't count as derivative (Like your grandmothers occasional racist slur, old things can be forgiven a multitude of sins).
4. all of them!