Super Xuxa Contra Baixo Astral

The wacko caterpillar is by far the best character! Good pace,dancing clips, the story is simple but the lines have smart philosophy. Better content than the usual kid's films. The villain Baixo Astral terrifies the little kids with his white eyes but Karam's ironic touch singing Michael Jackson's "I'm Bad" and torturing Xuxa's dog with her own past hit song "Sweet Honey" make the film entertaining even for teenagers who look for a light popcorn afternoon. Bad Vibe's world with pollution of waters, terrorism and bureaucracy is still up to date. More action than any other musical. The only thing I did not like was too many merchandising. Nevertheless it is a classic. Worth your time. Parents will enjoy too. The best of all Xuxa films.

This movie, starred by Xuxa (that isn't an actress, but a TV host) is just a lousy Labyrinth ripoff. The problem is that Xuxa is not so talented (nor so beautiful) as Jennifer Connelly, Guilherme Karan don't have David Bowie's sex appeal, the soundtrack of the movie is horribly sung by Xuxa (she is as much good singer as actress) and compared with Bowie's soundtrack for Labyrinth it sounds even worst, and the puppets were not created by Jim Henson.

Anyway, maybe you can watch this to laugh a little, as this movie can be considered a masterpiece of involuntary humor.

That was Xuxa first movie as a protagonist. The idea of mixing several guest actors with a poor screenplay results in a funny ridiculous movie. If in the 80's the kids could think it was interesting, the new will not believe in how people could be so stupid. There is not even a good will message like "behave yourself". Nothing else than waiste of time. If you would like to see a better Xuxa movie, try "Lua de Cristal". Maybe that is the only which you can find a convincent progress a the plot well directed. But don't try to show it to your children, or they will live you alone....

If you aren't in the habit of watching foreign movies with the sound off and music playing in the background, then skip this review. I do it all the time and I bet this one has played through on my set at least 40 times, while I might have seen it with the sound on maybe once. My copy has English subtitles hard coded into it and the dialogue is absolutely hilarious, yet contains deeper meaning, and always puts a smile on my face, while Xuxa is absolutely gorgeous in every scene and a joy to watch. Yes, it's junk, but it doesn't get any more entertaining than this in my book. If you have a problem with this movie, you're watching it wrong.

In fact, Xuxa ain't a great movie-maker, but in "Super Xuxa Contra o Baixo Astral" she gave her best and the result is a healthy and entertaining movie, that appeals most ranges of public. Actually, this film is the result of an exhaustive search for the ideal aesthetics for a family movie, developed by the main director, David Sonnenschein. In the character "Baixo Astral", most of the contemporary neo-romantic antagonism is mimethized such as the dilemma of the self affirmation against the behavior that is asked for it, which may serve as influence in the development of the symbolic and yet referential psique of the young spectators. Although notoriously influenced by Deleuze's ontology, Sonnenschein was able to, with strategic adaptations, give us the concept of the true freedom. There are a lot of plot issues, and a few situations that don't fit the global proposition. The editing also seems to be made in such a rush that in certain moments we cannot follow the illogic flow of the movie. But, despite the cliché problematic, "Super Xuxa Contra o Baixo Astral" is a good movie, with a positive message and a bright cast. The highlights are on Guilherme Karan, a visionary entertainer, with lots of humanity and a remarkable body expression. Finally, the last scene, along with the unforgettable musical performances and the growth of the fantasy characters (led by Henriqueta Brieba) in the plot represent the true contemporary interpretation of childhood, and must be remembered after all. If an unusual link is possible, this whole emblematic proposition should represent to the Brazilian cinema what the mythological character conception of István Szabó once was for the east-European avant-gardes.