danielgomezzz

"Camilo Superstar," the biopic about Camilo Sesto and his arrival in Spain with "Jesus Christ Superstar," had an excellent cast and renowned scriptwriters who promised a memorable series. Despite some qualities, the final result is disappointing.

On the one hand, the editing is quite well done and flows effectively, which stands out positively. However, the direction does not shine, although it cannot be considered bad either. Still, the big problem lies in the acting of Alejandro Jato, who plays Camilo Sesto. His performance degrades what could have been a 7 or 8 star product to something that barely reaches 3 or 4 at best.

Jato, originally from Vigo, tries to force a Valencian accent that feels exaggerated and not very credible, resulting in a performance that lacks authenticity. His performance contrasts noticeably with other actors in the cast, such as the one who plays Teddy Bautista, who really contributes to the story. Furthermore, the choice of actress for the role of Melina Mercuri also leaves much to be desired; her performance fails to capture the essence of the character and the lack of physical resemblance is evident.

The series also chooses to highlight aspects of Camilo's personal life, focusing on his love life in a superficial manner, which seems more like an attempt at sensationalism than a deep exploration of his legacy. The interpretations of the songs, which include some by Camilo himself, further highlight the gap between Jato's voice and performance, underlining his inability to convey the emotion that characterizes the artist.

Ultimately, "Camilo Superstar" is a project that, despite having great potential, is ruined by a poor central performance. It is a shame, especially for those of us who are fans of the musical and the legacy of Camilo Sesto, since the series is presented as a failed attempt to pay tribute to ecially for those of us who are fans of the musical and the legacy of Camilo Sesto, since the series is presehis figure. The lack of coherence and pretentious execution make this series, unfortunately, very bad.

"Father is only one 3" is an absolute fiasco. Not only is the film horrendous in terms of direction and acting, but it also demonstrates an alarming lack of originality and creativity. Santiago Segura, in his dual role as director and actor, proves to be incapable in both aspects. His direction seems to be limited to a simple "action!" without any effective guidance, resulting in a cast completely lost in the scene. His acting, on the other hand, is deplorable and reflects his lack of skills in the art of acting.

The script of the film is a perfect example of creative recycling. Although there are only two scenes directly recycled from the previous installments, the rest of the plot is a mere repetition of ideas already seen, seasoned with forced Christmas elements to try to give them a fresh air. The film seems to be the vision of a sexagenarian (Segura) on youth, treating his personal perspective as a universal reality and without taking into account authenticity or relevance to modern audiences.

The photography is another disaster, with shots that seem to have been thought through beyond basic and poor execution. The film, as a whole, is a clear example of why it is time for Segura and his team to stop making films. Spanish cinema needs to regenerate, breathe and free itself from these productions that only contribute to its deterioration. I hope Segura reads this, because he is the reason for the current hatred of Spanish cinema. This thing is not only a terrible film, but it also represents a creative stagnation that needs to be overcome.

"Borderline Cult" is not just a movie, it is a work of art in the purest sense of the word. If ever there was a piece of cinema that redefined the boundaries of genre cinema, it is this one. Ulli Lommel, in his masterful vision, has created what can only be described as the "Citizen Kane" of serial killer movies. From its precise direction to its meticulously constructed script, every element of "Borderline Cult" is a testament to Lommel's unmatched genius.

What fascinates me the most, what truly left me speechless, are the characters' endless, captivating monologues. These speeches, which may seem excessive to some, are actually the heart and soul of the film. Each monologue is a (not at all expository) window into the characters' psyches, a deep exploration of their motivations, their fears, and their inevitable descent into darkness. These aren't just dialogues, they're poems in motion, each word resonating with an almost philosophical depth. Honestly, the monologues are what makes Borderline Cult so much bigger than just a genre film: they elevate it to the level of sublime art.

And then there's the masterful use of sound. The constant buzzing of flies, far from being a mere sound effect, becomes an omnipresent presence that underlines the decadence of the world Lommel presents to us. I can't help but admire how this seemingly trivial detail adds so much to the atmosphere, to the point that it becomes almost another character. It's a bold and brilliant touch that made me appreciate even more the meticulous construction of this masterpiece.

The fat autistic invisible fly-catcher, who in other hands could have been a simple comic relief, here becomes a tragic and deeply moving figure. His fight against the invisible flies is a moving metaphor for the human struggle against problems we cannot see, but feel overwhelmingly. And his final kill with the fly swatter is simply unforgettable. Lommel turns what could have been a trivial scene into one of the most powerful and impactful sequences I have seen in years.

"Borderline Cult" is not just a film, it is a transformative experience. It is a masterpiece that should be appreciated not only by genre fans, but by any film lover. Its ambition, emotional depth and innovative narrative structure put it at the very top of the great films of all time. For me, it is the "Citizen Kane" of genre cinema, and I have no doubt that, in time, it will be recognized as such.