LIST + SHORT WRITEUP OF EVERY FILM I’VE SEEN (skipped some) - https://dl.getdropbox.com/u/105133/Movies%20%28all%29.rtf

Before I begin my review, I think I should clear up that the “Gronholm Method” is an obscure method of interviewing someone for a job. It involves gathering up a number of candidates eligible for a position, but rather than openly interviewing them as a process of discovering their usefulness and weaknesses, there technically is no “interviewer”. In the film, the candidates are placed in a room with six laptops (one for each contender to receive notes) and they are forced to psychologically analyze each other to discover a “winner”. They are issued a series of challenges and hypothetical situations in which they are forced to pick out the weakest of their group. There is always the lingering plausibility that any one of these contestants can be the true interviewer, or perhaps there could be multiple interviewers? Maybe there is only one true contestant, or maybe they are all role-playing in a method to promote a staff member in the company? Any of these explanations are reasonable, because when we’re discussing a method as cynical as the film’s depiction, it’s almost superficial to narrow it down to one solution.

I’m not entirely sure about the historical authenticity of the Gronholm Method, or if it even exists (a Google search sent me to the film’s IMDb + Wikipedia page), but I can almost assure that if this film were a multinational box-office success, small businesses would begin to experiment and possibly adapt the procedure. I personally wouldn’t mind being an interviewee of such a system, for it allows me to challenge my intellectual abilities in an intense competition. As for the film itself, when its narrative followed the characters as they explored each other’s limitations and the film analyzed their credulity and enthusiasm to such a sport, it was an intensely riveting experience. The characters were developed with careful and relentlessly strengthening three-dimensional personalities, and the methods of interviewing grew more severe and brooding to reveal the true nature of man. The first 50 minutes of this film were pure exhilaration, a haunting psychological depiction of cat & mouse. To me it was almost a nostalgic resemblance of the superfluous anxiety found in 12 ANGRY MEN, as I’d never felt so absorbed by long-running dialogue since.

After several characters are eliminated from the process (I’m not about to explain who, why, or how), the film takes a break from its intense onslaught of psychosomatic progression. This veers the film off-course and unfortunately causes it to wane off a bit. Greed is replaced by hormones as one character randomly feels like having sex with one of the remaining interviewees. Although a bit absurd, it also fits the animalistic desperation the contestants must be feeling by this point. They’ve been stripped bare from social courtesy, and are now physically fighting one another, no longer caring for outer appearance. I’m not sure if it justifies going as far as it does, but it would’ve been totally implausible to remain as a restrained and gracious drama.

A romantic subplot also develops between two interviewees. They had once been lovers, but one betrayed the other, and neither had ever forgotten. They still longed to be together, but the hostile circumstances made it impossible for them. The subplot does reach startling poignancy at one point, but does the film ever get back on track? Does it ever re-enter its initial excitement? Unfortunately, the writer didn’t trust his sardonic examination would make for a fully satisfying viewing. His decision to switch gears was more detrimental than refreshing, and that may be the only aspect of the film that inhibited greatness. It still makes for a relentlessly entertaining viewing, one that not only makes for provides an hour worth of cynical fun, but questions human morality in a time of conflict.

Sally Hawkins stars as Pauline 'Poppy' Cross in 'Happy-Go-Lucky'.

Just about every year this decade has had its hyped failures and J-horror extravaganza, but there’s always that one glimmer of hope that makes the otherwise useless pondering worthwhile. 2008 hasn’t been very well-endowed in that sense at all. Sure, it brought us the exhilarating DARK KNIGHT, the hilarious PINEAPPLE EXPRESS, the dementedly awesome BURN AFTER READING, and the realist, semi-tragedic, loosely brooding VICKY CRISTINA BARCELONA, but when Oscar season comes around (which should be right around now), it doesn’t look like we’ll have much to justify the year’s failure.

HAPPY-GO-LUCKY, Mike Leigh’s new… pessimistically optimistic film transcends the bickering good vs. evil, pseudo-charismatic rom-com, and “virgin survives” plot structure dished out this year. It’s a film that explores a wide range of emotions and characters, themes, and even genres. It stars Sally Hawkins as Poppy, a character who, without the film’s sardonic examination, would’ve appeared as though conceived through acid. She’s the personification of “high on life” as we know it. She has the uncanny ability of finding a punch-line in even the most dark and brooding situations. Were it not for her sanguine personality and the film’s atmosphere of cheery semblance, I would’ve been shaken by the film as a dark and gloomy experience.

When Poppy’s beloved bike is stolen, rather than lamenting in sorrow, she brushes it off and instead of buying a new bike, she uses her lack of transportation as an incentive to sign up for driving lessons. Unfortunately, she’s partnered up with a repressive and systematically irritated driving instructor. It’s not revealed why he is how he is, but it’s a good choice on the director’s part to avoid an inevitable sappy revelation conclusion. The film doesn’t center around their encounters, it centers around Poppy’s life as she fights through a brigade of unstable losers and lives not for yesterday or tomorrow, but today.

But Poppy isn’t just a “happy machine”. Although I’ve labeled her as a blissful caricature at one point, she’s totally capable of lashing out when provoked to an extent. She’s just as human as you or me, only more altruistic in nature, not as demanding of society, and doesn’t allow failures to bring her down. The troubled people she encounters are unable to keep up with the challenging development of civilization as we know it. They are all the subqualities of the subdued monster veiled inside us all. Many have called her annoying and unrealistic, I call her Strong.

Along with being an enjoyable and deeply affecting picture, it’s a film that subtly reveals its knowledge of human nature without openly analyzing it in your face. Or mine. Powerful stuff.

Absyrd will soon have his own home filled with film and tv reviews, but until then will post a few of his best right here on Emit Graphics. An announcement will be made here when his Absyrd Reviews is released.