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Barbarian (2022)
Creative choices undermined the perfect beginning
"Barbarian" had all the makings of a great horror movie. Its first act is outstanding in every aspect of the genre-tense, unsettling, playing with the psychological choices of each character. It creates multiple suspicions, keeping the viewer glued to the screen, curious and attentive to details. At a certain point, it becomes evident that the film is going to address human trafficking and snuff productions. All the signs point in this direction, and the way this is built up is fantastic. But then, at the conclusion of the first act, everything changes. This shift makes the film a little less scary, turning it from an excellent horror film into just a good one, slightly above the current average. Personally, I like the change and think it was well-executed, but there's a lingering feeling of wasted potential-it seems like the film could have been much better. The direction by comedian Zach Cregger is great, with wide angles, Edgar Wright-style cuts, and a constant touch of macabre humor that works well. The cinematography is simple yet spectacular in every sense, and the character development is well done. In the end, I like the movie, especially its first act, but the lingering feeling is one of creative waste. 7.5/10.
They Live (1988)
Great premise, messy execution
"They Live" is a very unique film, capable of serving as a foundation for both leftists and right-wingers. The movie flirts with analogies to communism, conspiracy theories about global control, and much more. I love this film, especially for its concept rather than its execution. The idea that everything is designed to provide a subliminal push to humans is brilliant, realistic, and timeless. The suspenseful soundtrack that runs throughout the film, serving as a sonic punctuation typical of John Carpenter, helps shape a movie that feels almost like a detective thriller that collapses into science fiction. The concept is great, the direction is solid, and the soundtrack is excellent, but the acting is terrible. Roddy Piper's cheesy performance, while emblematic of the '80s, is weak and painful to watch, and the supporting cast follows the same path. The acting direction is pure trash, and the special effects have aged poorly, giving the film a B-movie feel. There's one scene in particular, a fight between two characters, that may be the most unnecessarily long and boring in cinema history, but oh well-we're left with the premise and the parts of the execution that work to give us plenty of reasons to praise this film. 7.5/10.
Deadpool & Wolverine (2024)
Pointless self-deprecation
Wolverine x Deadpool" is fun, but way too long. Its self-referential jokes no longer feel as surprising and disruptive as they did nine years ago. Even though this time the humor reached a new level thanks to the multiverse, time travel, or something like that, the movie lacks weight. The jokes are repetitive and, deep down, ridiculous, as if written by a nine-year-old. The studio's self-deprecation for the sake of engagement is embarrassing. For those who caught all the references, the film is entertaining-nothing more. The action scenes are slightly better than what we've come to expect from Marvel, and the performances are just functional-if that. 6/10.
Furiosa: A Mad Max Saga (2024)
Average special effects, but entertaining
"Furiosa" is infinitely inferior to its predecessor, starting with its quite average special effects. The limited use of practical effects in this sequence makes it clear how well "Mad Max (2015)" handles its chases, explosions, gunshots, etc. However, if we compare it to action films in general that have been released recently, it improves, and significantly so. Its characters are captivating, its theatrical performances work, the costume design is impeccable, and its action scenes, despite the visual effects somewhat hindering them, are overall very good and extremely exciting and enjoyable. I really liked the film, especially its third act. Despite this sequence being inferior, it's still good. Chris Hemsworth delivers one of his best performances. Tom Burke, despite being a lesser-known actor, steals the scene when he appears and has perfect chemistry with Anya Taylor-Joy, who, although not delivering a great performance, convincingly portrays Furiosa.
Kingdom of the Planet of the Apes (2024)
An introduction to a new saga, which can improve, and significantly so.
Another good Planet of the Apes movie, but just good. This fourth film in the anthology is a mid-story film, almost like an introduction to a saga that is yet to come. Taking place several years after the first film (the exact period is not provided), it manages to convey an interesting sense of continuity, proposing ideas of legacy and an almost messianic vision for Caesar. The new characters are convincing, although I didn't particularly enjoy the human storyline. The CGI is great, flawless, although it doesn't seem to have seen a significant improvement in quality since the last film, which was released seven years ago. Nevertheless, what was great remains great. It's a good film, with good action scenes and interesting new characters. The feeling that remains is that everything was an introduction, a presentation of the world, characters, and context for the upcoming films, somewhat similar to what recently occurred in "Dune 1". But the film is still good, enjoyable, and exciting.
No One Will Save You (2023)
An LSD trip with extraterrestrials
No One Will Save You" is a good movie, almost like an LSD trip. The film blends cosmic horror, science fiction, and still finds room to explore issues like grief, regret, and social isolation. It is fun, exciting, with a scary first act that later transforms into an adventure full of meaning and very good special effects, by the way. Actress Kaitlyn Dever does a great job as the final girl; she is charismatic and delivers a strong physical performance, given that the film has hardly any dialogue, which is part of its attempt to propose a horror closely tied to isolation. This movie is great, especially for those who enjoy a good extraterrestrial film.
Dune: Part Two (2024)
Fixes all the issues from the first one and manages to remain grand
"Dune 2" is a visual, auditory, and artistic spectacle. Director Denis Villeneuve, already regarded as one of the best of his generation, is gradually establishing his mark in cinematic history with a science fiction film that ranks among the best of this century. With incredible settings, costumes, and production design, the movie offers a unique immersion. We get lost in the world presented, which often seems confusing but remains intriguing at every moment.
"Dune 2" does not repeat the minor mistakes of the first film. It features less contemplation, less exposition, and successfully balances the dense story with action scenes, which are significantly better in this sequel. It is a credit to the direction and its team that a nearly three-hour movie flies by. Hans Zimmer's soundtrack is impeccable and adds a unique grandeur to the scenes, which always aim for grand and singular framings.
The performances are also strong. Timothée Chalamet finally conveys the feeling of being a great warrior and the chosen one. Austin Butler is an excellent villain, caricatured, disgusting, morbid, and cruel. His physical and bodily acting is outstanding.
In conclusion, this film is truly awesome, especially for those who enjoy a good and grand science fiction.
Poor Things (2023)
Modern Frankenstein
"Poor Things" is another peculiar film by the excellent director Yorgos Lanthimos, a kind of Frankenstein of the 21st century that subverts the logic of what is monstrous, exploring the attempt of a soul to remain pure in an impure society. The director had already addressed a similar theme in the film "Dogtooth." The performances are excellent, representing the best moments in the careers of Emma Stone and Mark Ruffalo, who play their roles very well here. Another highlight is the construction of retrofuturistic-style settings, full of references, such as metropolises, which blend intentionally simple visual effects with high-quality effects, constantly creating a sense of suspicion.
The photography seeks open and dystopian angles, and the controversial scenes involving sex are not explained but are very well directed. The film starts with a premise in the best science fiction style but traverses various genres, including horror, comedy, romance, and drama, forming a complete work. Despite being far from perfect, in a period of repetitions and little creativity, Yorgos Lanthimos draws inspiration from a little-known book from the 90s to create a timeless film. Rating: 9/10.
Anatomie d'une chute (2023)
Modern Frankenstein
"Anatomy of a Fall" is a film of the beaten genre, the courtroom drama with a hint of police drama; however, it seeks to innovate in some aspects but falls short in others. The perspective of creating depth among those involved in the murder is excellent and works, especially in the third act. However, in the first two acts, it feels like we are watching a cold and inconcrete work. That being said, the film features great performances, good direction, a cold and sad photography, and editing that emphasizes the emotional toll of the events and the passage of time. Despite the film being quite repetitive, it doesn't become tiresome. The twists in expectations are good, and the character development works well. However, in its final moments, there is a feeling that something is missing. Overall, the film is good - a different courtroom film that seeks new perspectives but ultimately doesn't manage to be that innovative. Rating: 7/10.
Saltburn (2023)
The most pretentious film of recent years
"Saltburn" can be summed up in a single word: "pretentious." The film constantly positions itself as a great work but is nothing more than another movie made for the Oscars that didn't achieve the expected success. However, despite its arrogance, the film has some positive elements, such as its cold and bluish cinematography and excellent framing. The performances of Barry Keoghan and Rosamund Pike are great. At a certain point, the movie reminded me of "Parasite," but much dirtier and more sadistic, which makes me like it a bit for not being afraid of madness. However, at times, I feel it loses its way, affecting the narrative coherence. I don't like its conclusion or its plot; the strengths lie more in the artistic aspect than in the script of a film that has some good aspects but, overall, is a highly pretentious and empty feature.
Gojira -1.0 (2023)
The most powerful Godzilla of all time.
"Godzilla: Milus One" is a movie that entertained me from the first to the last second. With engaging action and compelling drama, the film stands out as a perfect live-action anime, exciting with good characters and a developing plot. Although I don't consider it the best Godzilla film, "Shin Godzilla" from 2014 is superior, but this one is certainly more vibrant. I like practical effects, but when the film attempts special effects, we notice some flaws. However, this in no way detracts from the experience. Japanese performances, which tend to be a bit exaggerated, hinder a bit, but for those accustomed to Asian cinema, it's easy to handle. The film still finds space to address themes such as family, companionship, abandonment, guilt, and remorse. Rating: 7/10.
Killers of the Flower Moon (2023)
Scorsese reinventing his own cinematic biography
"The Flower Moon Killer" may not be Scorsese's best film, but it is certainly one of the best of the year. The director manages to reinvent his directing and scriptwriting methodologies at the age of 80, proving once again his talent in this three-and-a-half-hour film that passes quickly. This is the result of consistently engaging editing and pacing. Even though the villains are introduced early on, the suspenseful atmosphere permeates the entire work, featuring a magnificent soundtrack. The blend of western and noir dictates the pace of the scenes, and the photography is engaging, with beautiful symbolic and metaphysical framing and liberties.
However, the performances don't grab as much attention, despite a star-studded cast including De Niro, who delivers a stellar performance as one of the greatest villains in recent years - this is not a spoiler. The standout is the unknown Lily Gladstone, who gives an outstanding physical performance. Scorsese may not extract everything from his actors in this film, and despite the excellent production design, the film's editing bothers me at times. It seems that even with the three and a half hours, many scenes were left out of the final cut. It's important to emphasize that this pertains to the editing, as the overall assembly is excellent.
"While The Flower Moon Killer" may not rank among Scorsese's top films, it is more than enough to be considered one of the best of the year and potentially sweep the Oscars.
Rating: 8.5/10.
Oppenheimer (2023)
The best version of Nolan
"Oppenheimer" is a complete film, with three hours of little contemplation and a lot of dialogue that intertwine across various narrative lines: past, present, and future. The first standout aspect is the makeup. I was so immersed in the movie that I simply didn't realize that the feature includes actors like Florence Pugh, Robert Downey Jr., Emily Blunt, and Matt Damon. The actors are immersed in their characters. The cinematography of "Oppenheimer" is incredible, dark, and somber. The film's sound is spectacular, both in terms of mixing and editing. We feel the weight of each scene through sonic exploration, highlighted by a 20-minute sequence about the bomb test that is perfect; much of this is due to the sound quality. Another highlight in the artistic realm is Cillian Murphy's performance. The actor is completely absorbed by his character, which is visible through his performance, although some narrative choices don't explore this as they should. Although I'm not Nolan's biggest fan because his films are usually aesthetically untouchable and in terms of direction, his scripts often struggle to connect with the audience. They're so deep that they become shallow. However, in "Oppenheimer," he manages to narrow this connection. The film could be more audacious at times, especially concerning the visceral consequences of an atomic bomb. Nevertheless, "Oppenheimer" is an almost perfect film, deserving an 8.5 out of 10.
Barbie (2023)
A perfect dollhouse
"Barbie": Greta Gerwig's new film manages to be extremely creative and original while, at the same time, a bit generic. The film starts strong with an impeccable introduction referencing "2001: A Space Odyssey," and then transitions to the gigantic dollhouse that is Barbieland. The production design is simply incredible, the use of CGI is imperceptible, the practical effects are great, the costumes are unique, and the makeup and hair contribute to the excellent art direction. The performances are all good, especially those of Margot Robbie and Ryan Gosling, who as Ken manage to steal the scenes several times. The weakest point lies in the script, which hits and misses at every moment. Its execution is good, the story itself works well, even without explaining some details. Nothing comes close to hindering the experience. Greta aims to deliver strong critiques and attempts to remain neutral, but at a specific moment, she forces it too much, causing a disconnection with the viewer. In the following scene, there's a spectacular sequence involving Ken, creating a sensation that his storyline is better. It's not; it's just more entertaining. The only "weak" storyline is that of the human mother-daughter duo and the executives. It's one of the weaker aspects of a good, fun, exciting, and creative film, which falls short of being even better due to stumbling over its details.
Evil Dead Rise (2023)
It's bloody, it's dirty, it's evil dead
"Evil Dead: Rise" takes all the good elements of the franchise and puts everything here in an authorial, unique film that respects the previous ones too much, entertains, scares, and has good touches of humor -although it could have more - we have an opening scene which starts with the classic camera going through the forest, this first scene is in the best panic style, although I don't like it in its entirety, I think this introduction could have been a little more visceral, but its ending is sensational, and it gives a card of presentation. One of the good points of this new film is the development of its characters, something we did not have in the original film, its script presents a linear and effective construction of its characters, and when the madness begins, it makes everything more impactful, the film is courageous , daring, don't hold back on the gore, it's dirty and gross, with dozens of bloodbaths, the action is exciting and the makeup is amazing. This isn't the best Evil Dead for me, but I had a lot of fun! 7.5/10.
The Super Mario Bros. Movie (2023)
a great adaptation
"Mario" is, above all, a fun film, which privileges children's audiences, it's true, but we have several scenes for adults as well, full of references and songs from the eighties, we have a phenomenal adaptation, the transition from the game to the movie is functional , sift and manage to work the characters and Mario's world well, the film still manages to be funny and with good original songs, the dubbing work is great, the small script changes in relation to classic game clichés work even well and the villain, Bowser is the best thing about the movie, in addition to excellent secondary characters. "Mario" is a great adventure that rescues the spirit of classic games in a fun way that appeals to children and adults alike. The film was well criticized in the specialized media, don't take that into question, the film was made to have a premise, be fun for young people and adults and take the world of Mario to fight with Sonic, and that he does very well. 7.5/10.
Im Westen nichts Neues (2022)
Nothing new about the horror of war
Nothing new on the front" is a film with a sober, thought-provoking and evolutionary narrative construction, the critically acclaimed German film knew how to build the context of the absurdity of a war, worked well on state manipulation to recruit soldiers and conveyed the weight of young Germans from the beginning of the 20th century, and it is not just a good script that the film is made of, the war scenes are frighteningly distressing and well done, the sound of this film is incredible, its hopeless dead photography combines exquisitely with the despair of the trenches and the performances contribute a lot to the film working so well. All nominations are deserved and the meta language surrounding the name is good "nothing new on the front" is literally another war movie and about the horror it provides. 9/10.
Triangle of Sadness (2022)
Um ato bom, um ruim ato e um ótimo ato
"Triangulo Da Tristeza" is a film of three very different acts, there is a good one, a great one and a bad one, despite the divergence in quality between them, we perfectly understand their narrative choices. We begin by being introduced to the couple Yaya and Carl and their everyday misadventures, discussions about femism, which are quite different, are set and we feel the impact of the direction, very naturalistic, exploring their characters, with ironic framing and dry cuts, we feel a very European inspiration in the artistic style of director Rubem Ostuld, it's no wonder given that the director is Swedish, although the work is American. After that we have an irreproachable act, where the criticism turns into a discussion about exploitation and wealth, a criticism that is very well grounded and explained through a perfect acidic humor and always very well put, everything works in these almost an hour, the characters, text, narration and performances, but this spills over into an inevitable deepening of criticism, leading us to the third act, where humor migrates to seriousness, which does not work, and leaves the work monotonous and boring, however, its conclusion is great and saves the feature, managing to perfectly combine humor with social criticism. "Triangulo Da Tristeza" is a roller coaster, or rather, a boat in a harmful storm. 8/10.
Argentina, 1985 (2022)
A film about human cruelty lacks a human touch.
"Argentina, 1985" is a film that succeeds in its technical and artistic aspects, although the new work by Darin and Miter lacks something special. The script tells the story of prosecutor Julius Caesar, responsible for mounting a case against the military who commanded Argentina during its bloodthirsty dictatorship. The performances are very good, especially by Darin, his documentary script works very well despite the heavy editing, some scenes, especially the testimonials are touching, cold and visceral - just like his dark photography - they are passages that work well but could be too better utilized. I think that screen time is lost in exchange for scenes that add little, especially in the second act, however, its third act is magnificent, its ending without doves and dry pleases me, it brings a sense of continuity in the battle for truth. "Argentina, 1985" is another beautiful work of Argentine cinema. 7/10.
The Whale (2022)
Great performances and a strong text.
"The Whale" new film by brilliant director Darren Aronofskyi goes deep into his own cinematic ideas, despite being a story adapted from a play the "Aronofskyikian" elements are there, the psychopathic immersion in something, the analogies and metaphors, the religious criticism and obsession, the latter present in all of his works. And it's easy to understand why the director chose this play to adapt. The first element that catches the eye is Brendan Fraser's performance, he is brilliant, at the same time that he is a suffering and charismatic performance we feel an anger at the character for his lack of combativeness due to guilt, his intonation and body performance are also incredible , another highlight of the performance is that of her friend and carer Liz, played by Hong Chau, who is great in an interpretation of a tough and friendly character, on the other hand, one of the pillars of the story, the young Ellie played by Sadie Sink makes a poorer and weaker performance. The script is very good, all well put together, full of morality and allegories, with dialogues and an almost personal text talking about writing with passion and not with technique, these passages are beautiful and touching, I really like this personality in the text of "A Baleia ". The photography is dark and sad, as is the composition of the dirty, sunless scenery, it is always a depressing and hostile atmosphere, the make-up is a separate element and should arrive strong for the Oscars. Darren Aronofskyi brings harrowing scenes, it seems that we are always breathless watching his film and the protagonist's life being held by a thread. One point that takes me away from the film is the same thing that takes me away from Aronofskyi's previous film, the feature "mother", from 2016, both go too deep in their religious and poetic metaphors in addition to having a slow montage, I didn't like it either the use of the camera and the soundtrack although the sound mix is great. 8/10.
Puss in Boots: The Last Wish (2022)
A good authorial animation and full of details
"Puss in Boots 2" is a film that has been a huge success, both with critics and with the audience, and the film is good, with great voiceovers, and cartoonish animation that I like a lot, charismatic characters and great subplots, but if If it weren't for the bold addition of the "Wolf" which in the feature works as a metaphorical representation of death, a representation that actually works very well, the film would be more of a good common animation, like its predecessor, this style of language adds a plus without taking away the fun and entertainment for the kids, I don't leave the cinema impressed but I liked what I saw, and mainly it entertained me, if you're looking for super animation, deep, well dubbed, fun and with impressive features, go see Guilhermo del Toro's Pinocchio because "Puss in Boots 2" is not that movie. Note 7/10.
Everything Everywhere All at Once (2022)
Marvel style humour. Boring and repetitive.
"All in Everywhere at the Same Time" is a well-acted, well-directed film with very good sound editing and mixing, however, I don't like its marvel-like humor, its criticism seems hollow, its slapstick style is unconvincing and its editing is tiring, the good editing of the film is lost when you use it to excess, and that happens with all the good aspects, after an hour and a half, everything stops working and at a certain point I just disconnected from the work, I thought about everything , except for the movie there in front of me, I don't understand how hype it is and the theaters are so full, it's the same audience that stays in queues for hours to see "ant-man" or any canned food of that kind, and at the end "All in All Place at the Same Time" is a gourmet canned food with good ideas that gradually self-destruct, leaving a giant shell of scraps behind. I like the universe created and I like the performances, but all this doesn't hold back the great tangle of "nothing" that we have here, in which even its great differential, the "humor" is weak, its Oscar competitor, "Inisherin's Banshees" it is a film with a humor that is also present but of an infinitely superior quality and tune. Note 7/10.
The Banshees of Inisherin (2022)
Humor and drama in the right measure
"Inisherin's Banshees" is a peculiar dramatic comedy, with a touch of English humor and taking place on the Irish coast of the 1920s. His cinematographic style, a mixture of the Coen brothers and Yorgos Lanthimos. The film is well directed, with bluish photography and a soundtrack that guides the feelings on screen, it gives a certain warmth to the cold composition of the scenery, the script is "strange", we have a weak beginning that begins to deepen in several layers and expose some feelings, mainly loneliness, depression and purpose, but this is diluted in its third act, transforming what we saw into a dispute of egos, could this be a criticism of how shallow human beings are? You can, but I don't buy that idea so well. Artistically, what attracts me the most is not its beautiful centered direction or the beautiful long open plans, but the performances, all the actors are impeccable, with emphasis on Kerry Condon, Brendan Gleeson and Brendan Gleeson. "Inisherin's Banshees" received extremely strong favorable and unfavorable reviews, I don't agree with either side, its melancholy and exaggerated humor attracts me, and combining this with beautiful performances, good direction and an irreproachable authorial touch by the director, they form a set of factors that make me like the film, despite its slow pace. Note 8/10.
The Fabelmans (2022)
The more personal the better
"The Fabelmans", Steven Spielberg's new film, is so personal that it is difficult to comment or evaluate, its script is a masterpiece in the construction of characters, all extremely three-dimensional, broken, loving and charismatic, perhaps the construction or events, mainly in the core Sammy's development process can be a little uncomfortable, however, as the facts are based on memories of one of the greatest film directors of all time, it makes mistakes banal and gives the work a magical tone. The direction is calm, contained, with simple plans and great shots, always looking for the emotional side of its characters, the soundtrack is fantastic, the photography changes according to the location of the characters and the pace is good. One of the highlights is the acting, all the characters are fantastic, but Michelle Willians is impeccable, playing an anguished character full of sentimental contraventions, and the actress manages to express all sides of that feeling. 8/10.
Terrifier 2 (2022)
Great villain, great makeup. deplorable script
"Terrifer 2" is a film of hits and misses, and although the hits are gigantic the mistakes are even bigger, Damien Leone's new feature has incredible makeup and practical effects, the violence in "Terrifer 2" is so daring and absurd that gives a sense of humor to the shots, taking away the disgust and passing tension and adding to this the great characterization and performance of David Howord as "Art", the clown who is born and has everything to be a slacher icon, on the other hand the script it's dark, in the bad sense, the attempt to create links between Art and the final Girl of the story Sienna is so bad that it spoils all the merits here, despite the good scenes, all of them around Art, because the clown is the only narrative that works, they are not enough, everything is so bad that I want to believe that Damien made a saccharistic allegory to the films of the genre to justify his script, however the lack of elements makes me believe that he tried to create something profound and completely failed, Damien Leone is at he is a reasonable director, despite the simple camera shots he knows how to lead and create the scenarios, as a makeup artist Damien is great, incredible, but when it comes time to write the script, it is deplorable, the film could easily be 40 minutes less. 6/10.