Nothing about this movie is good. But everything about this movie is funny and enjoyable. If you are waiting for a masterpiece, wrong place, if you are looking for laught, that's the deal.
Everyone in this movie makes terrible choices, probably the most dumb characters of cinema story, but at least film i funny and I enjoy watching this one entirely, just because I wait nothing about it.
At beginning, Baywatch is silly but funny. From second act onward, plot adds a absolutely flat mysterious charge and suddently all jokes starts to getting poor. In another words, movie is 20% funny and 80% irritating.
Lost in translation is a bending of cinema genres. It has a delicious and sutille humor, a dramatic charge and a big sense of humanity that brings the most marking thing about this one: an intense emotional experience.
It's compreehensive "Vertigo" being considered by many people as best movie ever made. I don't know until where it's truth, but that's a great one, it is.
Knives Out sometimes is too rush, joking overkiller and left some characters behind, but it's, beyoung everything, smart, holding, ironic, thought-provoking and sympathetic.
Little Women is cute, charming, empathic, funny and slightly but deliciously caricatic, and, for sure, there's a story to tell, even a bit more than expected too, as film's third act.
Another case where film could be perfect but it isn't. Good movie's aspects it's has to spare: excellent actings, nice photography, competent thrilling, different kind of storytelling, a great final, but fails focusing precisely in the less interesting of the two principal plots and feels like to be grandiose when in truth could be nothing but promissing.
It's supposed to be an ambitious comedy, but, not only is pretensious instead of as comic isn't that funny as could be, but at least Swiss Army Man has personality and it's possible connect yourself with characters, beyond showing great symbolisms when it wants.
Cinema Paradiso is not perfect but its closeness with this aspect is about its unquestionable beauty, result of an emotional and organic plot. It's almost impossible not seeing Salvatori - or Salva - as a relative or at least a 2 and a half hour - or full lifetime - friend.
Touching and human, Dekalog is a trip inside morality and common people's dilemes. Doesn't matter social class, culture or context, it's hard not to indentificate yourself or at least feel dismayed or thinkfull and for that reason, series is timeless too.
"O som ao redor" had everything to be a fine film, daring propouse and a trivial context to create empathy with viewers, but watching it, sometimes gives us an impression that's some disperse parts of movie are sewed one in another, some parts are almost genials, anothers without consistence, in another words, film variates between ambitoius and pretensious.
Shawshank Redemption is so perfect that's becames a defect, it's a kind of film that everyone waits watching and ends without complain. There's everything that we think about when asks us for a fit movie: primorous plot, acting, directing, photography, everything tecnically spotless at the same time story is emotional and tear-taking.
Although several scenes that could make conventional audience unconfortable, as always, Noé Brings a movie that's not easy, showed in a more raw and direct form, but don't fake yourself thinking that's pure porn, "Love" paradoxically is one of his most Philosophic and poetic films, approaching several manners of relashionships, not only romantic or sexual, but human.
Gaspar Noé's best movie so far, just because through lisergic beauty and richness of colours and subjective camera's plains, director take us by the hand and sneakily seduces us, but in the film's end, he simply makes a thing as he says "I'm Gaspar Noé", breaking all of our construction of a more normal film in Noé's standard through a punch-in-the-face plot-twist.
Chemisty between actors really works, photography is precise and competent, movie gives us some different points of view about crime and everything around but why this one left out the focus in the plot started on movie's beggining, which is very interesting and unusual approaching that could be harnessed, and simply turns the lights in subplot?
The lobster is already commendable only by its formula, innovating using bizarre humor, sarcasm, cold photography and everything uniquely, but it fails losing rhythm in the 2nd act or where characters are developed, until returns film's start's vigor on it's conclusion and delivers a great end.
Remember that Treasure of Sierra Madre was a movie made under a context where gaves value to text and plot, which doesn't an exception here, beyond fit and well-tied form, here we got some demonstrations of loyalty, corruption, poverty and everything else that defines more-than-one individuals human relationship
Lady bird is emotional, spontaneous and gaves us an coming-of-age under girls' point-of-view, which for itself is very different that we use to see in genre's movies.
It's comprehensive all propaganda above feminism ideals into this movie, but despite it, Capitain Marvel is full of foced out moments as soundtracks out of place and tense humor that supposed to be soft and funny, although Marvel fans and people that turns off their brains just by the fun can get fun and leaves the movie whit a minimum of satisfaction.
Gaspar Noé again shows us how much sharp is his pen when he writes a plot and how his camera accompanies it when keeps dirty, obscenely realist and sometimes unconfortable but always necessary.
Joker isn't that original, but creates an unique and convinving atmosphere that totally make justice to this villian's story. It's visceral, dirty, heavy, dense and painfully sarcastic, everything that a film like this asks for.
Before watching The Irishman, the impression left is that Scorcese is repeating his several movie's formula but in a three-and-a-half hour tiring. But again, director proves us opposite, movie not only makes us creating an emotional loop with characters as history is driven naturally and spontaneous.
Parasite is funny and clever at the same time. Through trickster reality, plot is developed under a lot of intelligence and it's almost impossible doesn't hold yourself until movie's end. Probably this year's best movie.
Mad Max is an action movie, but with much more layers than movies on genre, and even without watching previously movies of the franchise, plot ingeniously suggests what happened before.
Lion King is an old and repeated story's unilateral model, as seen in Romeo and Juliet, but even so it's a film full of soul and beauty and visually, even after 25 years, it looks like it was produced yesterday.
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb has a charming sense of humor and can sustain itself just with its script, which in its turn is so verbiage that border the tiring.
Tarantino's maturest movie ever. Don't you hope a lot of blood and comedy violence but a unusual and suggestive linetime, as always a lot of dialogue and ludicrous characters
Inland Empire is probably the most complexe film that David Lynch ever made. Movie feels like a bending of Eraserhead, Muholland Drive and Blue Velvet, but following more seriously the philosophy of "don't tell me, if you can, show me"
With a self-explanatory title, The Straight Story is a movie quite far that Lynch uses to do, and even so he can direct it of right way, simple and direct story, that inherits realistic elements from Elephant Man, creating a full of tender and simple story that is emotionaly beautiful and touching
Lost Highway is of which Muholland Drive inherits its best characteristis like a plot that never gives you the answer and makes you only wonder why and some of the most beautiful surrealistic scenes that Lynch ever made
