Review Written by: William Grady
What the MPAA Rating should be: R (for strong sexuality/nudity including dialouge and language)
Directed by: Michael Kang
Written by: Michael Kang
Produced by: Miguel Arteta, Karin Chien, Matthew Greenfield and Gina Kwon
Starring: Jeffrey Chyau, Sung Kang, Jade Wu, Samantha Futerman, Alexis Chang
Studio: Palm Pictures
is a film from the producers of Me and You and Everyone We Know
and it's certainly being advertised that way, even with the light shaded colors in posters. But while Me and You
had vibrant colors of yellow, orange and pink, the colors of Motel
are greens and blues and it's fitting: The films feature the same kind of quirky humor, but Motel
is very much the darker, raunchier Yin to Me and You
's bright and innocent Yang.
is a fun film, and I really liked it. I like how it captured the opressive atmosphere, the sheer boredom of going nowhere in the middle of nowhere. We can feel the growing frustration thirteen year old, chubby Asian Ernest Chin (Jeffrey Chyau) and the burst of relief when something interesting enters in his desloate, out of the way world. This something interesting is a Korean buisnessman named Sam (Sung Kang, who gives the greatest performance here) on a downward spiral after becoming seperated from his wife. We see him drowning himself in alcohol and women and he begins trying to initiate Ernest into adulthood by teaching him to drive, how to get laid, etc. His advice is terrible and it soon becomes clear that he less wants Ernest to enter adulthood than he wants to re-enter childhood.
But to Ernest, any kind of advice looks interesting. His life: he works at his mother's hotel and while being pestered by his little sister he cleans up after messy occupants. He tries to watch them having sex and reads the pornography left over. He occaisonally shows it to his crush, a fourteen year old waitress nearby facisnated in all things "gross." (Jade Wu, another fine performance) She convinces him to enter a writing contest, in which he gets an honorable mention and is invited to a fancy dinner ("Honorable mention?" his mother asks, "That's worse than losing!").
is a very funny movie. Some of the scenes are painfully hilarious, like one where Ernest makes an unusual use of one of his sister's toys. While Me and You
was a film that inspired endless freedom, The Motel
works in a closed environment, with one or two locations for most of the scenes. This works for scenes where Ernest manages to escape, like one where Sam teaches him to drive. In the middle of the night, they break into a house that will become clear is his wife's. She isn't home. Sam and Ernest reaarange the furniture to the way it was last time Sam still lived there. "I can't understand why she changed it," he says. "It was fine before!"
The film had many, many chances to take small (and some larger) risks at the end, but it took none of them. I couldn't help but feeling it took the easy way out. No one is hurt, lost and everything is forgiven? I can forgive the filmmakers though. The last two or three minutes are easily made up for by the first seventy-four.
The two teenage leads of The Motel.