jimmytancredi

Surprising movie in a good way. A story really well elaborated and more, still well executed. Performances from all the cast really good but definitely the stronger is Rebecca de Mornay'. Always with the same nuts face along with a excellent performance. Rebecca's performance was crazily good, she mixed the sadistic with calmness in a excellent form. One thing I liked, beside the characters aren't mentions for intelligence, they weren't the typical dumb teenagers, were adult people afraid and acting on under pressure and control. I found that really nice. It left the movie with a serious tone. Another thing, it has no jokes at crucial moments, it was taken very seriously, it also counted a lot. If you like violent thrillers, plus plenty of blood and tension, this will appeal you in full. A pity that it hasn't gone to the cinema, certainly deserved a chance.

It's not that it's unsatisfactory - quite the contrary, it has a different approach from the current movies that deal with this same subject, planking a more reflective and somewhat emotional in contrast to the standards of today's youth who cherish the "fied here and now". However you can see a lot of immaturity in the direction and script, especially in the latter it is based, a lot of literary works of renowned intellectual only to tell the difference before the rest of the protagonist of his own track age - a fact that also makes the film takes an air of "cult" which, in my opinion, has not - and makes the movie lose some of its originality. The movement of cameras sometimes tires a little too. Exaggeration of a rookie aside, there are positive sides as the undisputed loyalty to the thinking of young people today - until I saw in some of the crises of the unsafe Oliver, in his paranoia and assumptions without rhyme or reason. The soundtrack is flawless - her voice, lyrics, everything in her talent fits perfectly with the movie and the character. And the photography has gone far from what I was expecting. Anyway, it's a good movie, unruffled and distinct, even with some exaggerations coming from an inexperienced filmmaker. Independent and faithful to the public of Generation Y.

In We need to Talk About Kevin, Tilda Swinton delivers the best performance of her long career by portraying emotions nothing but unconventional. Swinton lent her image to a startled character, abandoned, lost by society and also, completely devoid of any influence on her son. Early on you can see Kevin is not a sweet innocent child. With an optimistic father sire, Kevin's bad behavior culminates in a brutal act. With grotesque expressions, Ezra Miller deserves much praise for a such remorseless act. From the direction till the soundtrack, We need to Talk About Kevin is a technically impeccable motion picture. It provides a unique experience for the viewer, provoking your imagination with a story of pure cruelty, however, close to current reality.

Josie is an editor who works for a newspaper and has only 25 years. Her boss wants her to disguise herself as a teenager and sneak into college to do an investigative piece. The problem is that in her early teens, she hasn't had good experiences and has fears that they repeat and it causes her resignation. Starting with the fact that hardly a woman of 25 years would pass for a teenager, and more strenuous has never been kissed. Taking into consideration that is a fiction we get the part that is a romantic comedy, and especially in the 90s. I believe that in the epoch it worked well in a successful way, almost became a modern fairy tale.

Weekend was one of the most beloved romantic dramas by European critics last year. The picture is written and directed by Andrew Haigh, who has been production assistant and editor neophyte in works such as: Gladiator, Black Hawk Down, Kingdom Of Heaven, all of them destined for the male public. This new venture is a warmhearted romantic gay drama. In which a consanguinity is able to evolve in a single weekend, leaving marks and emotions for the two young man differently conceived, an ardent Russel who does not raise the GLS flag and then there

The Iron Lady is an average film which relies only on the glorious performance from Meryl Streep. Due to its dull script and somewhat little emotionally appealing the film can not sustain alone and needs other means to get poignant. The dramatic appeal is that the film has taken more into account than the historical context of Thatcher

If the scene of the opening credits already affirms that it will be a heavy dip in a violent world, covered with dense blackness and incendiary, what follows is an attempt to reveal this evil once hidden behind the power and the many untruths that people from the story are trying to impose itself. The corrupt businessman to the meticulous killer, maybe even beyond that. The great ambition of the film is pervaded all these facts by the figure that resonates with insane intensity of credits lost in the narrative development, Lisbeth Salander cultivates in her "inability to live socially" - which the state condemns a hallucinatory force in her proper strangeness of being. Her impenetrability marks the film, or perhaps the latter is molded to it. And it is in the journalistic curiosity that Mikael and Lisbeth in the particular vehemence that the entire film unfolds, not only the desire of Blomkvist to uncover the truth and try to prove to himself that after all is still a work in a universe capable unfair, but also a woman afflicted with many cruelties, far from innocent, but that is the search for a killer of women the desire to exterminate this scum of men who mistreated, echoing ghosts of Christmases past that the film does not reveal, but it suggests. Salander is the driving force that has long, affecting Mikael and the rising tension, which grows, in an investigation of a past that resonates even today. David Fincher here is in the same technical finesse of Social Network", but quite superior to echo the masterpiece of director who is "Zodiac." He is able to develop his work respecting the genius of suspense that Stieg Larsson writes in the text at the same time deepens the personalities of his intriguing characters, from a family background that exudes decadent bitterness, wickedness and misogyny that characterize the protagonists to be precisely to the contrary, whether feminism is a transgressor of Lisbeth or the breakup of this family structure represented by Mikael, all enrolled in a theatre now conscious and well thought out.

This is undoubtedly the darkest of all Almodovar. Here, the director abandons almost completely melodramatic speech devoted to him and dives deeply into a realm of more psychological approach than usual, full of nuances and shocking. Proof that he is able to get out of your comfort zone and venture into original productions. Perhaps the most intriguing aspect of The Skin I Live In is a confused gender identity built upon the character Vicente/Vera. Robert Ledgard, responsible for the handling, believes, like all good stuff, we're just skin we inhabit. Thus, he believes to be carrying the most severe punishment to the rapist of his daughter, as irreversible as death would be a life of shame and humiliation a female body as despised by Vincent (played by an excellent Jan Cornet). However, the plot takes unexpected directions when confronted the viewer with the past of Dr Ledgard, plagued not only by the **** (and then suicide) of her daughter, but also by the death of his wife. What should be only a quest for revenge becomes a quest for resurrection of lost love. Vincent gets a face almost identical to the deceased wife of a surgeon and extra protection against burns, skin highly resistant. Robert arrives to declare for their creation transsexual she "never has been burned again". There had been a necrophiliac transfer morbid personality, like the classic **** film "Vertigo". Dr Ledgard, by this time had forgotten the whole accident why would continue that crazy saga, but not Vincent. This was still a little about himself alive, a "soul" that overlaps the whole matter that lived there, however modified and tangible (a fact that triggered the tragic end). Thus, it is possible to say that the greatest message of Almodóvar is that no matter where we are or how the body we have modified, our essence will always remain and will overcome (message that can be taken both as an ode to the human soul and beauty inside and a heavy critique of contemporary exaggerations in plastic interventions). The art direction is tremendous: the colors of Almodovar almost disappeared, giving way to a cold surgical practice, but not so barren (by contrast, is required for immersion and psychological tension voyeuristic). The picture is flawless, the soundtrack by Alberto Iglesias is one of the best by the Spanish and filmography of the performances leave nothing to be desired. Highlights also include the excellent script and the sober direction. Through The Skin I Live In, Pedro Almodovar shows the world that can escape the commonplace that gave him fame and, thus, stands as one of the greatest filmmakers of our time.

I like when it's approached a dramatic theme with a dose of comedy, showing a relaxed and optimistic side without overdoing it and falling in very improbable. It makes rethink how to handle difficult and unexpected problems when you add a little levity. I don't really like Seth Rogen, but he fulfilled the role of comic relief and to represent the friend who use disappoints at times, but you can count on him. Even with the impression that he was playing himself, was surprised to learn that in reality is Seth's best friend Will Reiser, in whose life the film was based. It was daring the bar scene in which Adam tries to lure girls saying he has cancer. It's so strange and compelling as to be original, when instead of masking the problem, takes advantage of it as a differentiation and as a point of interest. Anna Kendrick is highlighted once again playing the role of a more mature for her age, in a more contained than in Up In The Air. She can be annoying and adorable at the same time. Gladly in the end there wasn't the kiss between the two. The film finished with a taste of expectation, making unnecessary to show the novel is finished, since it was already clear there was involvement between them. You can not stop commenting on the soundtrack that worked well as a whole. In particular, it was great to hear High and Dry and Yellow Ledbetter.

Nature is perfection and when you believe everything you see, some emperor penguins come and completely change my perception and feelings. It's a splendid story, incorrectly judged with Animal Planet's episode, which presents the cycle of survival of those species in the most inhospitable place in the world. Threatened by hunger, cold and predators (leopard seals and gulls), the monogamous penguins must preserve the ancient cycle of the species, as reflected in the birth of new offspring and the search for food. It is a piece of art, proving that a story can make a difference (the voice of Morgan Freeman) or curious fiction concepts that mingle easily in the documentary (in case the French dubbing with human voices voicing penguins).

This new adaptation of Charlotte Bronte's classic has its magnitude from the present work to the coeval public which has no access to literature or to the elder version. As expected, the film has a commanding art direction by Will Hughes- Jones, which is quite lower in scale to other classics of the time, but is of equal quality in the costume, and in the choice of locations in the rejuvenation of the period in which women were simply props from their husbands, unable to participate in decisions and cursed to see the horizon of its narrow windows. There are not many mysteries: Jane Eyre (Mia Wasikowska) is a young woman who, humiliated by her aunt and sent to a strict school, became the governess of the of Mr. Rochester's daughter (Michael Fassbender). Eventually the tormented boy is enchanted with the conviction of the girl and her presence as well as direct and clever in the way that she answers him. So, Mia Wasikowska, who is an actress I do like, considering a little flat and not charismatic, precisely just because she can revive the coldness and austerity of a woman who hopes to achieve big dreams in life. Michael Fassbender, confirming the upward curve in his career, has an extraordinary performance as the tormented Rochester, stuck with a secret past that does not allow love. Plus the steady direction which Cary **** mixes the superstitions of the time and turns the large estate of Rochester in a place almost in awe. What never ceases to be. In short: it's a renowned literature told with the degree of wealth enough to be absorbed by the public, but no big mystery or innovations.

It is a rundown of the major human emotions, the singularity of each one and the variegated cultures. From the conventional happiness, to the joy disguised as everyday life and also of the anguish, sorrow, and especially the incredible divergences in the world. It's splendid to see and hear many-sided world views, beliefs, expectations, and even fears from people in such a jovial manner. I finished the flick with a antagonistic perception, that we are very different from each other dissimilar, but only flimsily. Inherently, we all have those days, life, longing, and suffering experienced by almost the same things. Basically we are all human, connected by the same joys.

The director Tate Taylor bet in simple stories in the design of the Crusades and that was his biggest hit, the film ended up making a decoy of both public as prizes, should appeal to all audiences, despite being a drama. It exposed the relationship of black women working as maids in the 60's, in Mississippi, in a clear time of racial segregation, to white households, some other stories of humiliation and misery, are reported by these women who had to be strong to endure so much suffering, to see it all on the perspective of our current reality, then becomes a bit shocking, and this is not even a movie or the most violent and crude about it, some passages will even invest in a tone comic, which becomes a relief, before so many sad looks. The female cast of the film is marvelous, Viola Davis is a wonder, and it's my favorite for the Oscars, her work moves a lot and is very realistic, Octavia Spencer is another that seems lit, fully immersed in character, for sure will be remembered for this movie. Emma Stone, here, only confirms her "Star Quality", which had already shown long ago, showed that not only holds the cast of a movie studio, as she is still a great actress, who also gives a show in the drama, since we are more accustomed to see her doing comedy. Bryce Dallas Howard is ridiculous and overwrought, like a villain from a novel by Walcyr Carrasco. In this cast, the men characters are quite rifeless and do not make much difference onto, here the strength is the in women. By all means most people will love the movie, and absolutely most critics will find several defects. Here's what I think: The film is pure clichÃ, especially in the final forty minutes and applies for a retrial very cheap sentiment to please the general public. There are quite a few points made in the film just to make the viewer feel good. But you know what? It worked very well. It has stirred and felt good. It was a very pleasant experience and I cheer up for the nomination for Best Supporting Actress, which I believe will eventually happen.

I found a delightful film, beautiful script, enjoyable acting, beautiful art direction and everything else ... What is disenchanted is knowing that in Iran and many other countries with this "religion" exists outside of fiction, and women are deprived of many things. The world has gone through so much and it has not changed yet. On the political level this film is sensational! It's a real lesson about the current "circumstances" that Iranian society is found, a consequence of the xiita revolution which occurred in country in the late 1970, which overthrew a dictator and the other was placed in power. The conversation they have in the "rental shop" shows well, and even an ironic way, the manipulation of the media and culture promoted by the government, as well as references and links to the human rights from the movie, which are fantastic. The "submission" of the women to men, by imposition, is also present in much of the film, many scenes that reach right to revolt and indignation. However, the romance part, although the relationship between them is beautiful and the characters were combined, is too vague and ends up being disappointing, the final says it so. I was under the impression that the beginning is the end of the film, was so open that I ended up leaving that question.

The Tree of Life by Terrence Malick is brave and goes to the limit of the philosophical weights always pretentious and complex, through an intricate montage of images and sounds (yes, who knows what Godard wanted to do in terms of narrative language in Film Socialisme and failed miserably), we see the beginning and the end of life, from the the macro to the microcosm. The incredible sequence of 18 minutes following the creation of life in the universe from the Big Bang to the simplest cell in the earth is a catharsis. Uncommon in the todayâ

An urban legend getting an American production above the average, even with amateurish technical about. However, this is the great charm of the film, to bring a touch of reality to something that frightens people, while not real. With an unstable nature documentary footage, the two rookies directors, Daniel Myrick and Eduardo Sanchez, lead an unusual thriller that explores witchcraft in a peculiar way and extremely evil. What is most interesting in this production, is the fact that directors can create fear in the viewer, without the least show directly the source responsible for it. Imagine what you can not see. How can you not be afraid of it? The power of an urban legend is something that can be measured against the influence which it carries in the middle. In some cases, above the power is so vast that people around the world are interested in such stories. Based on this concept of influence, the plot of this production is a journey of three film students, to explore the long- cherished legend of the Blair Witch, however, what is shown on the screen, are just the roll of film found by police, after the mysterious disappearance of young people. Starting from a premise that the suspense has good things to come, the two directors work in the background that is extremely favorable for the development of the script. The amateur footage further contributes to the enhancement of the heavy atmosphere, which is already present in the photography involved. The naturalness of it is the factor that close ties to production reality. The sound system works like a soundtrack orchestrated by a great professional who knows very well to put it in the context of the film. Adding these two questions film, photography and soundtrack, we get a product that pleases and amazes the viewer, while every sudden movement of the camera. It is clear in this production, the film does not require cutting-edge technological improvement, to satisfy your audience. The script is working well and can, from the start, accumulating records that direct the viewer to understand the outcome. The development of the argument is a gradation of psychological conflicts of each character, which tracks the tempo until the final minute. Playing with the psyche of each character , the filmmakers create claustrophobic situations that reflect the viewer, keeping it stuck in that atmosphere without answers and with every move closer and with a look at the picture provided by amateur camera in the darkness of night, where the script comes to apex of the gloom . Combining certain techniques is a superlative effort to create something new, taking the proper proportions of gender addressed. Working from the premise peculiar form, the script can do justice to what is stipulated in your synopsis so enjoyable and interesting for the audience. The technique is not mainly attributed to technology, but on good ideas, falling in the right hands. Exercising a right direction and leading the film gradually, the two rookies prove that gender is not lost, but it takes a few bumps to get it moving again.

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Swank is an undeniable talent. It may not be possessed of a beauty worthy of Hollywood standards but delights rightfully so. Casually because she played properly fair. Being a good actress is not having a perfect face. Particularly, I think this is the best movie I've seen of hers. And there's more of hers that I have the pleasure to see... With this film, you realize how imortant not to lose the grip of being in a classroom. Who works in such spot recognizes it. You inspire me to teach their ideas. As I am shy with the public, I need good ideas to teach. I saw this movie, great tips about it. Bright, with riveting performances and leaves you to ponder when the letters begin to rise ...

Despite being a film that abuses of silence, recurrence and plans extremely long (the joint that gives a consistency that borders on the unbearable, and maybe that's the intention of the director), Sleeping Beauty did not cause me sleep, or made me uncomfortable, but arrested my attention in hopes of a turnaround, a start who was Lucy. I have seen the majority of Emily movies, and I shall say this is one of her best performances, judging first by the girl's age which is surprising. Nevertheless, still she has some things to learn: it was possible to notice her movements as she slept, movements, apparently, someone who is awake . Pay attention to the uncomfortable scene of the bald old man licking her face. The direction of Julia Leigh is good and certainly safe, the almost complete absence of soundtrack only adds raw to the aspect of the film, the photography is excellent, the direction a little piece of art though. But the sticking point of the work of Julia Leigh lives in the script, right? Well, certainly Julia doesnâ

I must confess that I am fascinated by this film . Forward to the totally uncompromising history weâ

I didnâ

Sure enough a screenplay which could turn a giant movie it became to a ordinary one, The Son Of No One is less than a passable film, Katie Holmes doesnâ

Some say that this is the most sensitive film by Lars von Trier (and who attribute it to a certain "maturity from the director"), a filmmaker who is famous for hype (which I love). Perhaps because it has been this strange feeling of contentment and discontent. Each of the leading film is meticulously disguised, which leads to two paths: Lars wanted to communicate something through acts apparently trivial or these acts were banal alone and nothing else? I believe the first guess, since the director's job has always followed this line. Would Justine's father be a humanized version of God? One to whom all turn when they need, but isnâ

I finished this movie and I'm really delighted. The script, with many clichÃs though, itâ

I know one very similar to this movie and much better too, called "Stepmom" with Julia Roberts, Susan Sarandon and Ed Harris. The truth is that this drama (call it the novel would be too absurd) can have the most unsympathetic characters possible. Natalie Portman strives to give credibility to Emily, but the abuse of recurring return to the premature death of the daughter is the actress crippling any attempt to make her character more three-dimensional! Nevertheless, it is the best on the scene because her husband apparently indifferent and soothing, the conflicted ex-wife and the son verbally aggressive and nasty drawback is sufficient reason to abandon that Emily left the life in the midst of that family. It's a tearjerker poorly done and most obvious example of this is the final 30 minutes to extend into dialogue with another party of Emily solving not only the loose ends of the film as a whole, but of her life, as if only a simple conversation could unlock and enter the core of the personality and feelings.

I really didnâ

The first one from those remakes' trend which lasts till today, unlike the majority which came later, The Texas Chainsaw Massacre remake is worthy and valid, which followed a path somewhat different from the original, a bit away from that amateurism (many think that's what made the first film so creepy), but without economizing the suspense and blood. The direction from Niespel Marcus is quite stylish, the cast, despite only containing good looking actors, is good. It is really worthwhile.

What a surprising movie! I really enjoyed it. This film recalls â

The merit of the movie is that for the first time the teenager was portrayed as really is: his anxieties, insecurities, frustrations and fears were characterized in a surprising manner and with a simple and catchy language. The film makes us reflect on the consequences of poor education and as the father and mother figure is important for the balance of the teenager who somehow is thrown into a world full of doubts and insecurities accompanied with a hint of fear and frustration. Without a doubt is the definitive teen movie, being for the perfect timing, by the sharped performances or by the soundtrack of 80 years, rocked by the hit â

The tense atmosphere created by the David Slade is sensational, fully appropriate to the situation. The script outputs can find some questionable time to time, but the film is directed behind to perfectness. The performances need no comment. Page and Wilson support the film with great skill, the progression of the tension is admirable, the expressions full of nuances and subjectivity. Movies that are supported primarily through dialogue efficiently are difficult to make. It all depends on how elaborate and interesting are the characters, their goals and their stories. â

Great movie, beautiful, of an amazing subtlety, and with two of the best actors from the new generation, Andrew Garfield and the ever-wonderful Carey Mulligan. If the outcome is hardly surprising, at least itâ

The movie is good, if we compare with the bombs that are coming to the cinema lately, but the problem is that Super 8 was meant to be an homage to Spielberg, and it seems that only served for that. A blend of all scenes of the biggest hits of the magician of the cinema, and this, unfortunately, only served to remind us of all the amazing things that the filmmaker presented over the years, however by the end of the projection, I got the feeling that what I had just seen was good, but it had a lack of ET's quality. Actually what I liked most was to see the return of a science fiction movie starring children, because ultimately it was restricted only to fantasy. Well, but the similarities stop there. In the end, it was worthy for the memories, not a film that will be in people's minds for a long time, unlike the stories that Spielberg could tell us so well in the past.

It was good to spend time and take a few scares, but the ending is too predictable... It seems they wanted to give a rational explanation of the events but were kind of on the fence, almost as if they hadn't explained right (not in order to leave doubt in the air, but in the explanation poorly performed). Perhaps it would have been better if they had chosen to leave between the haunt be really a curse, or let the phenomena being the reflection of the trauma of the girl explained naturally. The mixture of these two options, in my opinion, left the rather weak script.

The attributes of the film "Wolf Creek" are somewhat unusual, after all the greatest merit that can give this production written, produced and directed by Australian Greg McLean is that he can keep the tension and nervousness on a stage next to the spine-chilling and in the case of a thriller is there to satisfactory. The end turns out to be done hastily by the fact that their redemption is so trivial (nothing compared to what happened to the other victims) and leads us to believe that one of the survivors said criminally by the events by the absence of evidence, but not enough to affect the outcome of production that strangely meets unfulfilled promises and what is cruel and shocking sequences, such as one in which Mick Taylor shows us how to create a head on a stick.

Many mistakes and a few fixes. The bad of gay films along with continuation even with more independent producers and actors who do not follow onto the sequence, like it was for the Another Gay Movie, a pity. For those who like a hooker itâ

It surpasses the first one, the jokes are way funnier and there are funny situations. With so much crap that the genre has been done lately that manages to surprise positively.

One of the â

Kick-Ass is, for sure, a fine homage to super heroes. Besides entering on a cliche universe, however peculiar, from the characters (special abilities, graphic violence, good humor, and really versus evilness), the film brings a curious narrative which accosts the contrast between existentialism and the consequences of being a 'demigod'. The production, inspired in the graphic novel by John Romita Jr. and Mark Millar, is really well directed by the Britain and the debutant Matthew Vaughn. Apart from the cool balconies of metalanguage and creativity in conducting cameras, Vaughn brings a clever script that prints a breathtaking pace balancing drama, action (with inventive scenes and quality) and comedy in good measure. Telling more details about the heroes in "Kick-Ass" would be such a immorality. The amazing true story about the 'alter egos' work as well as the stories of famous 'vigilantes' on crime. Kick it Hit-Girl!

The movie's aesthetic is interesting; it starts a comedy apparently pretentious and slapstick, however the screenplay goes pushing on you and the movie keeps creating a way that you don't except, ending like a convincing drama. Right before the end I though "damn the guy kinda screwed all up, lost his team girl and all that only to save the woman who was despising him" but the end was really persuasive. Cool, the script much goes right so as much as it fails, but there are moments which are good, like the surreal divine messages, the heroic Christians episodes, nevertheless the violence really visceral. The initial comparisons with Kick-Ass are inevitable, but there is something more human and believable, the end just proves it.

Well, what shall I say? It's a really cliche movie and some scenes make me remember about Carrie, others remember I Know What U Did Last Summer and anothers. The cast isn't big deal, but in my opinion, they don't give much to desire. The script doesn't deepen as much as it should have been and the dialogue isn't much interesting. It's light-year far away from being a median movie. Only for fun, though.

Everything in the film is well balanced and executed in a safe and clean way. The steering is responsive and always creative by Danny Boyle, the interpretation of James Franco is amazing and charismatic, the editing and screenplay by Jon Harris Boyle and Simon Beaufoy are perfectly consistent with the proposal: transmit agony, despair, emotion besides playing the spectator â

Good suspense is the one where everything is shown to the viewer and only in the end he will understand how all these pieces fit together. Already fake suspense like this, cheat, and omits important scenes dialogues plant inaccurate and false. So much so that in its outcome, the director David Twohy had to do just a short cut to explain where the killers came from, and only then, showed cut scenes to circumvent the reasoning of the public. Itâ

I even found the movie funny in some scenes, like the one of the dressing-room, which was hilarious. But I still donâ

Really interesting this film! On the contrary of the critics that I read a lot the movie is pure creative and different because shows the exaggerated and the impossible on a completely acceptable context! If people merely want to see possible and commons things just read the newspaper and not a movie. A movie needs to be creative and it can also be surreal, since the events fit and have a connected end. Bullets that make curves, bullets with goodbye, cars jumping over others! Two of the functions of the cinema from action are entertaining and make magic, do not forget that.

This Cameron Diaz's movie always serves only to spend time, it doesn't add absolutely nothing, the script is generally pretty weak, as well for the photography. But still thus, I could laugh onto some funny scenes and it's enjoyable to watch, though. It also could have been more elaborated.

The movie totally looses itself in caricature and satire of the genre poorly developed after more than a hour projection with the film allegedly trying to look serious, and then descends toward the ridiculous. Quite poorly drafted, lost, silly. An attempt to look like Poltergeist, and when they realized that it wouldnâ

Along with typical elements of the director, Pulp Fiction is a chronologically scrambled collection of stories of crime are linked and extremely intelligent and entertaining. With that story, almost tough of Tarantino, the film makes references to other movies, series in several twists that change the opinion of the public about the supposed hero of the story. Fulled with jokes and dirty and gross terms, the filmâ

I really liked the cast! Very nice people gathered for the premiere of Drew Barrymore as a director. There are many cute scenes, some dialogue as well. But what attracts this movie, other than the cute Ellen Page, are the super forced performances of the girls. Drew and Juliette Lewis are very enjoyable to see. In addition, the Roller Derby is fun to watch because it has a lot of beating. I also loved the soundtrack. I think itâ

I liked the movie, I found the story good, but poorly utilized, unfortunately. I expected more emphasis on Kris Kristofferson performance, only that it happened and was disappointed a little. Hilary has really grown up as an actress, despite having only a few scenes. But the few that she is, is working well. You can see more of that in the extras (deleted scenes) to give a better idea. Very good for those who don't like sugar water, a great family portrait dismantled. Who wants to see a happy movie better get away from this.

"The Devil Wears Prada" is a master of witty humor and refined, fun to see. The film is also a full plate for anyone who loves fashion, but the most attentive to realize that the message goes far beyond that. Anne Hathaway acted very well on the scene and the inspired performance from Meryl Streep waiver adjectives. She is such a diva, is another level. David Frankel's direction is swift and competent, the supporting team is luxurious. Everything in "The Devil Wears Prada" pleases. I'm not a fan of the movie, but I can say that Miranda Priestly is the most iconic female character in movies in the past decade. Meryl Streep didn't win the Oscar for one thing such as: comedy. The film has a certain status of comedy, so much that Meryl won the Golden Globe for best actress in a comedy. If producers weren't so worried about leaving the cute and funny movie, if they were more faithful to the book and the movie was serious, more dramatic tone, Meryl would have won the Oscar.