on July 16, 2004
Boy howdy, the fems are getting pretty rough these days. I suppose after generations of being dominated by the male sub-species that once the ladies decided to strike back they meant just that: strike back. A perfect example of estrogen TNT in a can is Jennifer Lopez swingin', sweatin', and kickin' in ENOUGH.
Let's face it, we all know where ENOUGH is headed. J-Lo plays a greasy spoon waitress (yeah, like that's believable) who happens to fall for a smooth-talking swell (Bill Campbell) who turns out not to be the nicest guy on the block. Er, the planet. And when J-Lo confronts Hubby about his flagrant infidelity, Hubby responds with some fisticuffs and then refuses to let his wife out of the marriage. Granted, Campbell is ultra-creepy to watch. . .he's so revolting and disgusting that even my dog knew he was going to get the ultimate comeuppance at the end of this flick.
With the help of friends, J-Lo and young daughter flee and relocate thousands of miles away, yet Hubby is relentless in his pursuit. Once it becomes obvious that a custody showdown is inevitable, J-Lo does the only logical thing: She enlists the aid of a martial arts dude and learns how to fight like a tiger. Tigress? Then, it's back to California to sneak into Hubby's new flat and extract a pound of posterior. And, of course, predictability reigns supreme as the film rolls to its conclusion.
I've had the luxury of viewing this film with other ladies, and their reaction has been somewhat universal. Not a one of them would have put up with the guff J-Lo did; in fact, the first time a punch was thrown Hubby would have first been looking at the floor to find his mountain oysters, just before he would feel the piercing pain of buckshot. But, perhaps justice is swifer in my neck of the woods. Anyway, in ENOUGH J-Lo kind of blindsides her husband during their kung fu match. Ain't fair. I demand a best two-out-of-three.
on July 12, 2004
Jennifer Lopez stars as Slim in this thriller about an abused woman who flees her rich and well-connected husband Mitch (Bill Campbell). At stake is not only Slim's well-being but also the psychological and physical protection of their young daughter Gracie (played adorably by little Tessa Allen). Although this flick has the trappings of a feminist fight-back story with its theme of domestic violence and custody laws, make no mistake: this is a thriller through and through, with twists and violence and personal peril at every turn. Women will delight in the training scenes where J-Lo prepares to fight back, and men will hardly mind the sight of the buff actress learning to defend herself.
Yeah, the premise as it unfolds is a little ridiculous, especially as Mitch seems to have a GPS system to track his fleeing wife, but the escapism is pure adrenaline-rushing fun. Jennifer Lopez is naturally appealing and solid in her performance, although the emotional range of the role seems to demand only fierceness and fright. Still, the chemistry between her and young co-star Allen is unmistakable, even poignant. Noah Wylie does a fantastic turn as Robbie, a character I won't describe for fear of spoiling the plot. Juliette Lewis has her usual on-screen charisma even though she's not given much to work with.
This film was much better than I expected. Viewers hoping for something new or even substantial on the theme of domestic violence will be disappointed since it only serves as a plot device to put Lopez's character in danger. This would make a great date flick since men will appreciate the constant action (not to mention the lead actress) and women will be drawn to the subject matter.
on June 28, 2004
You have to see a movie for yourself before you judge it. That's the real reason I rented this, and the only reason. I work in a video store so I got it for free. It was only a waste of my time, but at least I can say this with certainty (as far as I'm concerned) as opposed to only guessing.
I say we have no more pathetic portrayals of domestic violence. If you're going to make a movie like that, don't just make it worth our time, develop characters we actually care about. The violent husband was a stupid cliche who becomes dangerous all of the sudden out of the blue and the way he meets up with his future wife is so contrived. The saddest thing is that they had a chance to really make his character complex and they threw it all away. Such a waste. It may not seem necessary to develop the character of a wife-beater but I have two things to say. One, if you make them look so inhuman nobody would ever be able to admit to themselves that their husbands have a problem. Two, you might as well make another Twister because either way it ends up with J.Lo running for her life with a faceless blob swirling after her.
I won't be surprised I see this on Lifetime sometime soon.
on May 31, 2004
If you think the title of my review is offensive, then wait til you see "Enough," a hackneyed, simple-minded revenge thriller that doesn't even begin to address the gravity of domestic violence. The movie likes to fancy itself as a feminist picture, but I don't buy it for a minute. Plausibility is thrown out the window, and in its place are a predictable script and cliched dialogue ("If I can't have you, then no one else will."). When this movie came out in the summer of 2002, it totally bombed at the box office. Gee, no small wonder when you consider the plot: boy meets girl at diner; boy marries girl; boy loses temper and slaps girl around; girl takes child and relocate to get away from boy; girl takes fighting lessons and beats the crapola out of boy. Quite frankly, for a real movie on domestic violence, I'd stick with "The Burning Bed," starring Farrah Fawcett. True, that movie had some of the ingredients of a Lifetime feature presentation, but it had something "Enough" doesn't have: believability and depth. I'm also curious as to why Jennifer Lopez, a fairly decent actress, and director Michael Apted, an otherwise capable filmmaker, would bother with exploitative trash like this. My hunch is that they did it for the paycheck, which is the only thing this film had to offer them. For the rest of us, it's 2 hours of your life wasted.
on May 11, 2004
Jennifer Lopez delivers a bomb, with Enough. Although not as hideous as Gigli, Enough tries to pass off the usual segmenting of the body and booty shots, with a feminist cover. This movie has made many claims about its modern, feminist messages, but in reality it defies the messages it sets out to portray by depicting JLO's character as it does. The very name of the main character, "Slim," is a commentary on the nature of the film. Slim is the surveyed. She is constantly being viewed and judged by her male counterparts. The film also ignores other aspects of Slim's life. Her race, economic, and social class are ignored for the better part of the film. She is seen in only one role until her husband finds her, and that is the role of a waitress. A father figure later appears in the film to help the character, however this only serves to reassert the fact that a woman needs male intervention to survive on her own.
I think this film is severly lacking in the areas that it claimed would be the strongest. Enough is an anti-feminist view of the world in which we live.
on May 11, 2004
Enough is the story of a woman who marries a man and has a daughter with him, only to realize he is an abusive, insane killer who will stop at nothing to bring her down. Jennifer Lopez's character, Slim, is the mother who wants to protect herself and her child from her dangerous husband. However, Slim seems to have trouble with dealing with her problem so she insists on consistently running and hiding away. Though the general idea of the movie is female empowerment, there are reasons to see otherwise. For example, Slim lets herself be chased from her home, her friends, her life, by her vicious husband. Then she proceeds to hide away with another man, seeking protection and housing. Furthermore, she finds her biological father and receives money from him to start a new life, and for training in self defense from yet another male, in order to take care of her little problem, her husband. Her husband throughout all this always has his eye on her, and she knows it. She is forced inside his panoptical view, and must always be on her toes.
J Lo in this case plays a 'damsel in distress' waiting for her knight in shining armour, who comes in many forms until Slim, herself, can get out of this drastic situation. And being J Lo, of course the camera must frame itself on specific parts of the female body, just to prove how hard she worked to achieve her freedom from the madman that is her husband.
Overall, it sparks thoughts about female empowerment, and male dominance in Hollywood films.
on May 11, 2004
"Enough," a film directed by Michael Apted, is a story about a happily-married mother, Slim, surprised by the abrupt change in her "perfect" life. As Slim discovers her husband's secret mistresses, she also discovers his hidden demons and rage. The plot thickens as she and her daughter escape from his abusive tendencies to live a new underground, secretive life. Slim recognizes her "maternal-animal right" to protect her child which pushes her to train to become the ultimate woman fighter and defeat her abusive, arrogant husband.
In this film, Slim's character is made out to be a strong, independent woman finally liberated to run her life the way she wants to. However, she is nevertheless played by Jennifer Lopez, who carries her own outside persona as a singer/dancer/powerful Latino woman. It is hard to see past J. Lo and perceive Slim as a real mother fleeing an abusive relationship. Slim is still a stereotypically, beautiful, Hollywood-modeled woman in a strong Hollywood woman role. Fractioned camera angles and close-ups of J. Lo's body emphasize her outside persona even more. Therefore, objectifying her character as a sexy woman. She is a spectacle for the mass of viewers to watch. This idea relates to John Berger's concept of the male surveyor viewing the female surveyed in his book, Ways of Seeing. J. Lo creates the desire in Slim's appearance and femaleness for a male perspective to take pleasure in. To conclude, this film contains a good amount of suspense and girl power, but not much aesthetic significance.
on May 11, 2004
The movie begins when a working class waitress named Slim (Jennifer Lopez), falls in love with a wealthy contractor named Mitch (Bill Campbell). In no time, they get married and move to the suberbs, where they are living in a beautiful home and have a daughter. Slim has everything she wants. Until she finds out that Mitch is having an affair. When Slim confronts him about the affair, he ends up abusing her. Soon, Slim realizes that she must get away from Mitch to protect herself and her daughter. However, Mitch will not accept this and he begins relentlessly persuing her. Slim tries over and over to make a new life for herself and her daughter by assuming new identities and moving from one city to another. But Mitch continues to persue her, until Slim desides to take a stand because she has had enough. Enough was a suspenseful thriller with very good acting by Jennifel Lopez and Bill Capmbell. I would suggest this movie to anyone.
This movie for the most part, was shot through a male cinematic gaze. At some points during the movie, it is clear to see the objectification of Jennifer Lopez is. In a scene you will see a close-up of certain portions of her body for no particular reason. I like the way that the film Enough kinda of critiqued a couple of existing stereotypes about women. The first was that women want this "perfect" life with a house in the suberbs, the perfect loving husband, and an adorible child. However, for the most part in life, the "perfect" life does not exist. In Enough, Slim's perfect dream life turned into a nightmare. Also, this film address the idea that women are weaker then men. During the course of the movie, Mitch says things to Slim like "What are you gonna do to hurt me?" or "All I have to do is hit you once".
on May 11, 2004
"Enough" (2002), written by Nicholas Kazan and directed by Michael Apted, is the story of an mother Slim Hiller (Jennifer Lopez) who finds that the man she married Mitch Hiller (Bill Campbell) is nothing but an abusive person, and represents nothing she thought he was. Slim has a daughter Gracie (Tessa Allen), and decides for both their safety to leave Mitch. After Slim and Gracie leave, Mitch relentlessly pursues them wherever they run to, and Slim is then faced with the reality that she could either be on the run the rest of her life, which would be totally detrimental to Gracie's life, or face Mitch and put an end to this conflict.
Through most of this movie, it portrays a stereotypical situation where an abused wife is on the run from an abusive husband. We see a typical portrayal of the woman being afraid in Slim and the typical portrayal of the abusive, not afraid husband in Mitch. Although the end of the movie sort of strays away from this stereotypical setup, for the most part it is thrown in our faces.
We also can take note as to some of the camera angles throughout the movie. When Slim is shown throughout, the general angle is that of her entire body. This is definitely an example of objectifying the woman character because showing the whole body is saying that we (the viewers/surveyors) want to see her entire body (surveyed), not just her face.
Overall, this movie is not the greatest of movies as it presents a stereotypical situation while objectifying Slim's physical appearance. Although the ending gives a sense of retribution, we see that Slim's appearance is still objectified in her tight clothing that she wears that just highlights her figure.
on May 11, 2004
This film takes the socially constructed image of a downtrodden weak, yet family oriented woman, and places her in the visual gaze of combat. The plot of the movie uses Lopez' sex appeal to its full potential as this revenge thriller is cliché down to the last drop. Jennifer Lopez dawns the initial guise of a beautiful, frail waitress, whom seemingly meets and marries the man "of her dreams." That dream however, quickly becomes a nightmare. The two marry, and Jennifer Lopez' character, Slim, has a daughter. She later finds out that not only is her husband unfaithful, he is also abusive. Her solution? Rather than confront the cinematically portrayed "dominant" image of her husband, she flees, reinforcing the stereotypical representation of a "terrified woman."
It just so happens that she is the illegitimate daughter of a business tycoon, who helps fund her "new life" or rather, several of them. She learns that running serves no purpose, as her husband tracks her down time and time again. The law cannot help her, as she has, in a sense, kidnapped her own child. It seems being a woman isn't enough to resolve the issue, as her only solution is to confront her husband man to man. She invests in personal combat training to prove to him once and for all she has had enough of everything, with the exception of tight body suits.