This film’s title, crazy/beautiful, originates from dialogue between the two main characters, a troubled teen girl named Nicole Oakley (Kristen Dunst) and a hard-working, responsible Latino student named Carlos Nuñez (Jay Hernandez), and states obvious points addressed in the contrived story. Filmed in California, including the actual school Palisades Private High School, crazy/beautiful has emotional actions relating to cultures and stereotypes force the audience into an introspective experience with a few “fun” scenes added for good measure.
On the positive side, the film develops Nicole and Carlos very well. The audience gets a good view of their backgrounds and daily life. Carlos keeps a stressful, but dedicated regimen of school, work, and a potential military career while the privileged Nicole seems to be squandering her talents for no good reason.
After a chance meeting, the two get to know each other well and Carlos reluctantly agrees to progress the relationship. This new couple has to face everyone at some point and they do.
Bruce Davison (X-Men) has an important role as Nicole’s dad Tom, a Congressman who has also remarried and has a young daughter, Morgan (Marion Moseley). The story gives him instant credibility just because of the high status of his profession and the audience must assume his intentions and background are honorable. This credibility comes through in his performance, but trust hasn’t been established yet, so you may not be sure if what he’s saying is true or not.
Tom’s challenging relationship with Nicole produces some predictable dialogue exchanges (e.g. “What kind of daughter are you?” says Tom…“Not yours,” answers Nicole). “What am I doing with you,” “I never know what will happen,” and “My life is so planned out” are more examples.
Nicole feels torn between responsibility (including being a motherly figure for Morgan) and new her love with Oscar where she has the “opportunity to be whatever you want to be.”
The “white girl” references may be bothersome and Tom knows Nicole and Carlos are having a sexual relationship, but these situations are realistic as are the main characters’ changing habits, adjustments, and decisions. These changes are subtle yet effective. For example, Carlos lies about why he’s late for a meeting after an earlier, similar example of blaming from Tom.
The supporting characters, Nicole’s step-sister Courtney (Lucinda Jenney), Mrs. Nuñez (Soledad St. Hilaire), and a young antagonist, eventually get brushed aside at certain points in the story, but Nicole’s “best friend” Maddy (Taryn Manning) gets the worst exit as the audience must again assume she wasn’t a good friend overall.
Director John Stockwell and the filmmaking crew demonstrate some impressive styles like the quick cuts during an interior breakfast sequence. Other nice touches include Nicole’s return to school …gazing out the same window where she and Carlos first saw each other.
During an exterior sequence after a football game, you may keep waiting for something bad to happen since it’s unintentionally tense. Filmmakers include some necessary background (Nicole’s Mom’s photo album) and development actually helps the film’s pace giving the audience plenty of time to think through the plot.
The music serves the film well, especially when Australian composer Paul Haslinger’s musical score changes tone during a forgotten meeting with Nicole’s dad. The impressive songs also bring in some enhancements including “Wait” by Seven Mary Three and “Siempre (Every Time)” by La Ley.
Recommended with many reservations (**1/2 out of four stars) and rated PG-13 for sexuality, language, drug/alcohol, mature themes, and some violence. Submitted five times to the MPAA to get the final rating instead of an R which explains the director’s cut. Watch the ending credits for a nice closure sequence about Carlos.
Tall Writer 