Candy

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source: Candy

I confess: I don't get the ending of Candy. One minute Dan is out in the alley behind the restaurant he's working in, smoking a cigarette and telling us (via voice-over) how all he's been thinking about was seeing Candy again. Then, like a gift from heaven, she shows up and says "Baby, I'm Yours (again)." Other than some need to have a "life's a bitch and we must all be unhappy" ending, or perhaps because the director had no idea how else to end the movie, why does Dan suddenly opt for: "There's no going back." (i.e., why *not,* Dan? or why not just go *forward* -- with Candy?) I'm sorry if I'm too thick to understand. Someone enlighten me, please.

Worst movie I've seen for quite some time wanted to switch it off after 20-30 mins but the IMDb rating was high so said I'd give it a chance and I almost always finish what I start. The acting is the only good thing but the whole story seems to happen for no reason, one minute they are getting married, the next they move into some warehouse then they move up North. Along the way she has a stillborn baby and they come off drugs and go back on them again and she is selling herself for more drug money even after they get married... Casper is always there for a dig out too. The whole drug addict movie thing has been done before and just because Heath Ledger is in it does not make it brilliant at all. Painful to watch and very predictable and boring.

I was very moved by this film, I found it exhilarating and painful at the same time. All of the scenes powerfully encapsulate stages of addiction, the starry eyed beginning to the hopelessness and victimization of a need that cannot be satisfied, but must be obeyed both with the drugs and each other. The desperation of two people trying to make sense of a world that they have created and maintained through their drug use, the withdrawal from and eventual isolation from normal and eventually each other is all shown here sparing nothing. The sense that they have captured something beautiful and unique, well aware of the impending pitfall that awaits them is so beautifully portrayed here it is hard not to sympathize with all of the characters even at their most desperate; understanding where they come from and what drives them. Heath Ledger and Abbie Cornish work well together and my respect for Heath Ledger has been restored to full after some horrible roles post Two Hands.

This movie fails for a number of reasons, not the least of which is its insistence to lean on "drugs" for all or most of its drama. The movie does an awful job of developing the characters or of allowing the viewer to care about them before jumping right in to the "drug" problem. If there had been some backstory, some reason to care that these two are slowly destroying themselves and their lives with drugs, one might have been persuaded to buy into the story. But as it was, the characters seem little more than cardboard cutouts. Ledger's character is a "poet",or so we are told, but there is little evidence that he is or that he even cares about words or language. There is only that one gratuitous reading of a poem, or part of one, and it seems completely out of context as if it were just "thrown in" so we would buy in that he is, truly, a poet. And Cornish's artistic endeavors consists of one nice painting and scribbling on the walls, which is "read" to us by Ledger's character even though as it was scribbled there is no way he could have read it. Overall, the movie was boring, not well written or filmed, and not worth the time. I fear that this movie's higher rating has more to do with Ledger's tragic death than the quality of the movie.

How on earth did this film garner such inexplicably praiseful plaudits on the festival circuit last year? You can colour me entirely baffled. The studio's plot synopsis remains genuinely intriguing, but the film proper appears to have excised all of this potentially interesting material; namely, the dynamic it claims to examine between the titular character (stitched up by her attraction to the bohemian lifestyle, apparently) and Ledger's dozy poet. That, at the very least, sounds like something worth exploring. But instead, we are given film that is so painfully familiar and uninventive that I can genuinely tell you, with all sincerity, that there is absolutely no reason to watch it. The two central performances shine brilliantly for the first half hour or so; after that, we're treated to the rather nauseating display of two talented actors trying feverishly to out-twitch each other. The main problem though, is that the movie has no narrative drive. We start in hell, and (despite the film's attempt to shoe-horn in periodic 'Heaven', 'Hell' and 'Earth' titlecards that have absolutely no bearing on the content of the story, and are, as an idea, clearly cribbed from Aronofsky's Requiem adaptation) we don't once move out of the pits. After barely 15 minutes of running time, and a surfeit of characterisation and/or plot, Candy is already driven to prostituting herself to fund her habit. Where can the film possibly go after that? I'd tell you, but you already know, surely? As the film plummets ever deeper into misery and predictable squalor, fewer and fewer surprises are encountered, and the mind can't help but wander to the superior movies that this one can't help but reference. Annoyingly, there is the odd excellent scene (for example, the frenzied, buzzy sequence in the bank brilliantly evokes the nervy excitement and brazen amorality of life on the fringes) but it is always quickly followed by a plot point so brain-fryingly soapy that any positive momentum is quashed immediately. *SPOILER* After the guilty euphoria of the bank episode, Ledger's character returns home to find out that Candy is pregnant with his child. Strewth! Where is THAT story going to end up? I'd tell you, but you already know, surely? *END SPOILER* And to add insult to injury, it looks like utter hell; with its bland, studio-lit sets and washed- out cinematography, it looks like a gently bleached version of Home and Away. The screenplay is no great shakes either; strictly join-the-dots plot wise, it also employs drab, repetitive, naturalistic dialogue that does evoke a certain realism, but serves to make all of the characters, bar none, completely uninteresting and unlikeable. Go and rent Drugstore Cowboy or Christiane F instead of this well intentioned, but totally empty hack-job of lazy cod-soapery.

This is a GREAT movie. It is very intense. It shows you how life can be for two people in love with drugs. It will scare you straight. Heath does a great job as always. Cristian Castillo also does a FANTASTIC job as Little Angelo. He is going to be the next HOT Hollywood actor for sure. I cant wait for everybody else in the USA to see this. It makes you realize how bad drugs can affect a persons life. With all of the problems that our country has with drugs, this is a perfect time to release a great movie like this. For all of us that have kids, this will open your eyes and make you have the "NO DRUGS" talk with them. Can you say Oscar!!!! Heath and Cristian, keep up the GREAT work.