Reviews

DOGVILLE (2003)

**** out of ****

There weren't many great film on the 2003 Cannes Film Festival, but at least three of them deserved to win an award. First, there was Gus Van Sant's ELEPHANT, with its daring and original approach to a real-life event. There was also Clint Eastwood's masterpiece MYSTIC RIVER, which went on to win two Academy Awards in 2004. But it was DOGVILLE the true star of that festival. Unfortunately, it didn't win anything- I suppose that was because its pessimistic, radical view of the human nature might not have pleased some members of the jury. That's a pity, because this is a film to enter the history of cinema.

With its unusual set design (chalk drawings on the floor to represent houses, only a few objects) and its anti-Hollywood structure (a narrator who knows a lot, the division of the story in chapters), it might repel some viewers. But that all makes DOGVILLE unique. While Nicole Kidman's performance is the best of her career, the most discussed thing about the film will be its ending. Well, all I can say is that Lars Von Trier has guts- the finale tells more about ourselves than we'd like to.

No doubt here's a new addition to my all-time top 100. It's the best film since David Lynch's MULHOLLAND DRIVE.

CALIGOLA (1979)

no stars out of ****

Wow! It doesn't take much time to find a bad mainstream movie. In fact, there are lots of them every year. But it takes time to find something worse than GIGLI, FROM JUSTIN TO KELLY, HOWARD THE DUCK... Well, CALIGOLA tops- or should I say "bottoms"- them all. Why? Everything about this "film" is miscalculated, unpleasant and so completely wrong! A soft-core porn disguised as a biography of the mad Roman emperor Caligola, everything about it, from the acting to the indescribably awful direction, from the inane cinematography to the screenplay that seems to have been written by a horny donkey (sorry, I know Gore Vidal was involved but the writing is awful); everything is as awful as it gets, and it still gets worse.

Release us from things like CALIGOLA! Yuck! A big yuck! .

A STREETCAR NAMED DESIRE (1951)

**** out of ****

Marlon Brando, one of the best movie and theater actors of the 20th century, has died on Thursday, July 1st 2004. With the nickname of Stanley Kowalski, I couldn't let to pay my homage and post my comment on this wonderful film, where he plays Kowalski.

It's not only Brando who shines here- A STREETCAR NAMED DESIRE has to be one of the best-acted films I've ever seen. Vivien Leigh is indescribable as the doomed Blanche Dubois, while the late Kim Hunter and the great Karl Malden couldn't be any better. But it's Brando whom we most remember when we talk about STREETCAR, the best movie adaptation of a Tennessee Williams play. Kowalski, with his ripped shirt, screaming for Stella, is one of the greatest moments of the 20th century. And it tells us a lot about Brando himself and his method of acting. May he rest in peace!

It's a pity that IDENTITY was not a box-office hit. It had everything to be the next THE SIXTH SENSE, or even THE RING for that matter. Problem is: it was released right before X2 and THE MATRIX RELOADED, not having the attention it deserved.

I liked it for many reasons, but the less you know about the story, the better. The film editing is great (the early scenes, for instance), the characters are engaging (which is an important factor!) and the set is moody. I loved how the story unfold, especially in the last 20 minutes- then you see how clever and original the screenwriter was.

I hope it ranks better in video and DVD. All I know is that I have to see it again and catch all the clues.

9/10

X2 is not another comic-book based action film, just as X-MEN wasn't. But, while the first film was solid, good entertainment, X2 goes further, with amazing special effects, new characters and depth on the veterans, an intriguing story... Overall, great and clever entertainment.

I loved it, and can't wait for X3- and not for the sole reason of knowing the whole truth about Wolverine.

9/10

HOW TO LOSE A GUY IN 10 DAYS is, without a doubt, above the average of romantic comedies, due to a charismatic lead- Kate Hudson- and an endless sense of humor.

A fine date flick, if you're in the mood for laughing.

7/10

Comedy is Sandra Bullock's place- that's what MISS CONGENIALITY proves. Although Michael Caine steals many scenes (he's Michael Caine, after all!), Ms. Bullock does what she does best. Her makeover is not really believable, but this is not a documentary. It's a laugh riot comedy!

8/10

What else can I say about MEMENTO that hasn't already been said? It's wildly original, endlessly brilliant, unforgettable in all senses. I wonder how it didn't win Best Original Screenplay in 2002- Academy voters gave the award to GOSFORD PARK, a film I also loved, but you can't ignore a screenplay like that of MEMENTO, one that restores your faith in screenwriters.

10/10- the second best film of 2001... losing only to MULHOLLAND DRIVE

SNATCH, like Guy Ritchie's previous film, LOCK, STOCK & TWO SMOKING BARRELS, is a fast-paced, highly entertaining action comedy, that doesn't have the ambition of changing anyone's life or the history of cinema, but provides great fun. It's a pity that afterwards Ritchie gave us something we don't want to remember, and most of us didn't bother to watch. Do I have to mention the name of the "film"?

8/10

THE HOUSE OF MIRTH is not just a costume drama. It's Terence Davies' adaptation of Edith Wharton's novel, a study of a rotten society. He creates a film that is beautiful for the eyes and that stays with you for some time. And you can't deny that he's worthy of recognition for turning Gillian Anderson into an ill-fated heroine of the early 20th century. By the way, her performance is really good.

8/10

Art-house audiences liked SHADOW OF THE VAMPIRE more than anyone, and that's no surprise. This is not a piece of entertainment, but it's an admirable mix of dark comedy and horror, making us think about the process of film-making. Highly recommended.

8/10

Marcia Gay Harden surprisingly won the Best Supporting Actress Oscar in 2001 for this very unseen biography of painter Jackson Pollock, directed and acted by Ed Harris. She deserved it, but we can't despise Mr. Harris' efforts. Without risking too much, he has created an honest, sad but compelling portrait of a misunderstood artist.

8/10

MULHOLLAND DRIVE made me the definitive fan of David Lynch. He's a modern genius, because he's not only a film-maker. His stories and his style have a spell that cross the screen. So THE STRAIGHT STORY was quite a surprise to me, with its easy to follow storyline and sunny sets. Still, Lynch is there, and, while this is far from his best, it's a film not to be missed. Late Richard Farnsworth's performance is one of the reasons.

8/10

Sofia Coppola is not a good actress, we all agree. But she seems to have inherited some of her father's talents. Her directorial debut, THE VIRGIN SUICIDES, is rich in atmosphere and tells a sad, yet poignant story.

A great film indeed! Better even than some of the old Coppola's films. I can't wait for Sofia's next!

9/10

David Mamet is famous for his screenplays, and not without reason. He creates stories that deal with values and human flaws, turning them into something entertaining with great dialog. In STATE AND MAIN it's not different. His point of view of film-making in America is ironic and clever. And, while this is not up to his greatest film, HOUSE OF GAMES, we can't help but enjoy the ride.

8/10

Not everyone liked THE HOURS, and that may be the reason why it took only one Oscar- Best Actress for Nicole Kidman. Having read the novel, I can say that the adaptation was amazing, but there's nothing wrong if you haven't read the novel.

Being a man, a young one but a man, I can't understand women but I'm still fascinated by them. THE HOURS is a feminine film (not a feminist one; there's a difference), but I could feel what these women felt, and that's the magic of cinema.

From Stephen Daldry's impeccable direction to the terrific performances, without dissonant notes, THE HOURS is a film to be remembered for years.

10/10

AMORES PERROS is a perfect companion to the excellent Y TU MAMÁ TAMBIÉN as an example of how prolific Mexican cinema is. It was nominated for Best Film in a Foreign Language, but that was the year of the breathtaking epic CROUCHING TIGER, HIDDEN DRAGON.

Like our Brazilian pride CITY OF GOD, AMORES PERROS is violent but you just can't take your eyes off. Disturbing but compelling. A memorable experience.

9/10

What makes BOUNCE rise above the average of romantic films is the direction of Don Roos, who also made the eccentric THE OPPOSITE OF SEX. Here he avoids sappiness but every now and then the film gets quite melodramatic. However, Gwyneth Paltrow and Ben Affleck are surprisingly good and have a nice chemistry, in a good and warm date movie.

7/10

What a great film this is! After 2 years and a half it's still fresh in my mind. But I still can't understand why it lost Best Picture to GLADIATOR, having won Best Director for the brilliant work of Steven Soderbergh.

In a few words, this film has it all: great cast, awesome script, terrific techs, a relevant subject and an amazing director. Along with REQUIEM FOR A DREAM (coincidentally, another film about drugs), the best of 2000.

10/10

I was never a fan of Gus Van Sant, not even when he had a success with GOOD WILL HUNTING, which was no masterpiece, only a very good film. His most perennial and memorable work is, for me, DRUGSTORE COWBOY.

With FINDING FORRESTER he didn't blew my mind (after all, he's no David Lynch), but I was quite pleased with the film. Nothing very original or remarkable here, but this is a good drama for a rainy day.

7/10

What an amazing, brilliant film this is! From Darren Aronofsky's direction to Ellen Burstyn's amazing performance, this is a film that stayed with me. At the end, I remember, I couldn't stand up and go home, and I couldn't sleep that night. It's not every film that gives you that.

10/10

It's a pity that GHOST WORLD wasn't more successful, but after all this isn't a movie for every taste. It's an anti-teen flick with a impeccable script and great performances, especially by Thora Birch and Steve Buscemi.

Going from the dark comedy to the melancholic but unforgettable final scene, this is, like Roger Ebert mentioned, the kind of film you want to give a hug. In fact, despite I'm not American, GHOST WORLD talked to me and still stays in my mind.

9/10

OS MAIAS was a big flop here in Brazil, probably because audiences can't handle a production like this, turned to an intellectual side. Based on a novel by the great Portuguese writer Eça de Queiros, it was a sumptuous, richly textured production. However, it was very difficult to watch, especially if the person hadn't read the novel. It was great to look, very well acted and directed, carefully adapted, but it was hard to follow all the chapters.

FIDDLER ON THE ROOF (1971) 9/10

SINGIN' IN THE RAIN. MY FAIR LADY. TOP HAT. THE MUSIC MAN. THE SOUND OF MUSIC. AN AMERICAN IN PARIS. THE WIZARD OF OZ. GIGI. WEST SIDE STORY. It's easy to name the classic musicals before 1970, but after... what we have of good... CABARET... ALL THAT JAZZ... HAIR... of course, FIDDLER ON THE ROOF. This may be one of the last great musicals, maybe the last, because all the musicals that came after it were really different from the old ones. Coincidence or not, FIDDLER ON THE ROOF, directed with maestry by Norman Jewison and starring Topol, in a joyous performance as Tevye, is about tradition.

FIDDLER is about the fight between the traditional values and the new ones. But it's not just an uplifting story; it's bittersweet, even depressing at times. In fact, I like this film so much because I felt every kind of emotion while watching it: happiness, fun, excitement, sadness... It's a complete film, one that touches you deep inside.

The cinematography is gorgeous, the visuals are great and the songs are excellent. I highly recommend this film. It closed the door for the old fashioned musicals, but it was time. Audiences needed something new, but the musical genre isn't a favorite nowadays. I hope that MOULIN ROUGE, the best movie of 2001 so far, opens the door for a new kind of musical.

LES PARAPLUIES DE CHERBOURG (THE UMBRELLAS OF CHERBOURG) (1964) 9/10

I'm a fan of musicals. From TOP HAT to CABARET, from SINGIN' IN THE RAIN to MOULIN ROUGE, I just love them in every possible way. But I must confess that I was a bit worried before watching THE UMBRELLAS OF CHERBOURG, directed by Jacques Demy and starring the wonderful Catherine Deneuve. Not because it's French- some of my favorite movies are French (THE DISCREET CHARM OF THE BOURGEOISIE, BELLE DE JOUR, JULES ET JIM, SMALL CHANGE). That was because every line in this film is sung, something that made me love and hate EVITA. Watching it, I discovered one of the most lovely and beautiful films ever made, and also one of the most realistic musicals. If the characters talked instead of singing, this would still be a great film. But the music adds a charming, irresistible atmosphere that is never cheap or schmaltzy.

Deneuve never looked better as the girl whose passion for a young man suffers all kinds of trouble. The ending will make some people cry, but naturally. Naturally as the lines are sweetly sung by the actors.

This is not the kind of movie you are used to watching, not even the usual kind of musical. It's just a wonderful film that will make you forget the world out there.