One of the many, many iterations with the same name. Maybe only THE Texas Chainsaw Massacre is the only one worth mentioning. If anybody is able to write anything more stupid than this "film", that person deserves a prize. One point of star from me.
Reviews
41 Reviews
Prayers for the Stolen
(2021)
One of the hardest films to watch now
20 November 2021
Horror, even the weird and most brutal films are just that, scary films. Noche de Fuego, based on Jeniffer Clement's "Prayers for the Stolen" is a radical departure from films that tackle the world of drugs and its consequences. Tatiana Huezo's film is an introspective into the life of three children as they grow in a world of violence in the mountains of Mexico where most people work in the world of opium harvesting. Harrowing and crude, the film goes into the depths of humanity, seen from the eyes of three young girls who fear the possible threats of only "living" as kids. The performances are stunning. The casting is superb. The DP created a visual masterpiece. With Tati at the helm, this rollercoaster of a film, will keep you nailed to your seat as it will be engraved in your mind for years to come. At Cannes, the film had wild reviews but, above all, an audience who couldn't believe what they experienced through the first Festival that chose it. A complete success!
Wolf Creek
(2016–2017)
Cinematography champ, worst story ever!
14 October 2021
A boring, stupid, inconsistent, predictable, hollow and badly scripted story (story?, really?). That's what you'll see. The DP was, by far, the only one who did a good work here, and ONLY in the first season. Skip ten minutes into any episode and you'll find pure beauty. This series is worth, literally, nothing if it not were for the cinematography. Think about all super-hero movies with zombies, Jason and all the serial killers you like, supernatural stories and the most stupid script with all of these combined. Result? This series. Seriously, don't lose your time. I did, and I regret it. Gloriously shot crap (first season only, mind you).
Three generations in one shot
10 September 2021
I would leave to the viewer the final conclusion about this film. It touches, with a great amount of realism, the chasm between generations for a family living in the second decade of the 21st century. Attitudes grabbed from fads on the internet. Disconnection inside a dysfunctional family. Stress and anxiety coming from a job or from school. Millennial's ways of expressing their stand in life. Split ideas on parenting. I believe this film deserves watching and understanding the complexity of relationships, the ways in which we all dig our own graves by staying silent and, above all, the importance of empathy and love when things seem to go down the drain. Good and believable acting along with a superb editing make this film an interesting study on family dynamics.
Padrenostro
(2020)
One of the most personal films you'll see
7 September 2021
The Years of Lead. Anni di Piombo. Terrorism, massacres and politics both in Italy and Argentina shocked the foundations of both countries while the director of this film was too young to remember but too young to forget. His father is the character, brilliantly played by one of the most recognised Italian actors. This film is so personal, so beautifully crafted, that it feels like we're witnessing someone else's life through a peep-hole. Complex, layered and well thought. If you're not familiar with recent Italian history, this film might be strange, full of references that assume some understanding of the period. It proves, again, the depth of many Italian films and the sheer beauty shining in the darkest realms of life. Maybe somebody can describe the story or what's behind it. I only can suggest you to watch this film. It's a work of art.
Mowgli: Legend of the Jungle
(2018)
Oh... WOW!
22 August 2021
At last someone decided to take the dark route. This is not a film for children. Not our traditional Disney take on The Jungle Book. This is much closer to the text. Harsh, scary and bloody. With lots of heartbreaking moments. Andy Serkis was behind the wheel, so no surprises. It was going to be difficult to watch in some moments. You can recognize all of the actors by their features and voices. Gollum evolved. Both Favreau's and Serkis' shows are amazing. Using different technologies, approaches and storytelling. Favreau took the Disney way, with amazing twists. Serkis tried to honor Kipling as closely as he could. And, Oh, wow. What a job! I'm 60 and can't stop watching this film. It is mesmerizing because it is so fresh and dark. I can't imagine the thousands of hours of work behind this. Both films are worth watching over and over again. This one, even more.
The Jungle Book
(2016)
What can the green screen and money do?
22 August 2021
Having watched both The Jungle Book and Mowgli, I'm amazed at what technology can do for us today. This is 100% small-studio (meaning the production soundstage) feat. Their idea of keeping animals look and act like animals was outstanding. The merging of technologies, all of them, is visually stunning. The rhythm, the creative ideas... everything makes this film a magnificent rendering of Disney's previous takes on the novel. PG-13 at its best. Great voices and characters. Great plot and development. A treasure for all ages. Mowgli, though, is closer to the book and much, much difficult and rough. A different (the first ever) take that drives the spectator to new heights. The rendering by motion-capture is perhaps the best job ever put on film (even by Harry Potter's and The Lord of the Rings' standards) until 2020. The story is not for everyone because of its radical departure from Disney's more approachable narrative. Both films are mesmerizing and revolutionary. Different takes with different technologies make this story a very new experience. The reason why this happens with both films is because those technologies do not interfere with the story, they provide lots of resources for the viewer to him or her glued to their seats. Breathtaking jobs!
Gaga: Five Foot Two
(2017)
Some truth behind the real person
26 April 2021
Stefani is a human being and here's she's pictured as one of us (somehow). She's human, receptive, with lots of downs and ups. In the end, although the film goes to the Super Bowl show at the end, it's just a way of showing Stefani is a human being. I recognise her amazing talent as a musician and as performer. But what is really important is she is one of the few people at the very top who's still human. I don't think this film alone tells us about this particular unusual trait fo Gaga. She's a real human being. She's shown this since she was a kid and I relate to that. She might be ridiculously rich. This documentary gives us a short insight on her human side with very human reactions.
The Platform
(2019)
La Divina Comedia today
24 April 2021
Telling the story of this film makes no sense now that more than1000 reviews are out here. I'd rather go to what it means for our society now. Two very well known comedians in a play (this was written as play, mind you) that brings back the seven stages of hell of Alighieri's "La Divina Comedia" is paired seamlessly with an "obvious" critique of the outraging and rampant American consumerism and capitalism. Using people of all walks of life and ethnic backgrounds makes it very easy, along with the word "obvious" used over and over again, to understand how it makes a direct analogy, more than a metaphor on consumerism and capitalist societies. A fantastic Spanish masterpiece.
Below Zero
(2021)
Wannabe
5 February 2021
This could've been something. The idea behind is not a bad one but not original or good at all. The actual script and execution were terrible. Sometimes, you find some potholes on a road and you call it a bad road. When the entire road is only potholes, what do you call it? I watched it because of the actors, who I admire. Sadly, they'll have to live with it. I give this a 2 because they made it and spent a lot of money to do so, that takes a lot of courage.
The Queen's Gambit
(2020)
Sad, unsettling, uplifting, depressing, fantastic!
1 December 2020
What a game! This team has done a job worth a ton of gold. There might be one or two tiny slips you'll find after watching it ten times. This slick, incredibly designed and played drama is a must watch. Directing this piece was quite a feat. From the time-keeper to Anya, this series deserves more than words. Feel it, even if you've never ever watched a chess match. This is check-mate from the start!
Sarah Cooper: Everything's Fine
(2020 TV Special)
One-girl-show
28 October 2020
Although this is a first one for Sarah on TV or film, she's one of the most accomplished comedians of our time. She's a brilliant stand-up actor. Her stubbornness and patience have paid out in 1 to 2-minute long videos. But, mind you, she's a fantastic genius. No matter what you throw at her, she excels at it. From being a Google strategist to a COVID-times-bored-mother and author, Sarah's Netflix first gig is just that. Her first gig on Netflix. Most people would see this as so-so or flat. And it is in some moments. But the background is what most people really don't get or even like. She's been good at it for years. Satire. Strong, no-nonsense satire. It cuts through the bone. Thoughtful and ominous. As satire is supposed to be. If you've been following her for the past 5 or so years, you'll see she's not a one-off-sensation. She's a fantastic comedian that most comedians should follow. She's a hard-working inspirational person. Watch her TED talks or her Google talks, or her stand-ups. She's amazing!
The Dinosaur Project
(2012)
Don't expect anything great
26 April 2016
Sadly, this film pushes the envelope to places you don't want to be, namely, where suspense of belief is not enough. You have to be totally into buying a bit of thrill where you're own stupidity must play a significant role. No sound in the chopper (not even Air Force Two is that silent), no natural reactions of people when they should be... incredibly predictable everything. But, alas! in the end, the product is fun to watch if you can bear with the first 20 minutes or more. That's the part which I can't understand today: 1) you're committed to watch it, 2) you're stupid and 3) you're committed to watch it.
So... don't feel committed as I did. Just watch the first 20 minutes and you'll see for yourself. It's not fair to write so badly when you're trying to catch the imagination of your audience. But they did it in a very lame way. I don't know if they caught anybody's imagination at all.
The other thing that doesn't help is the hand-held shooting of the film. Real life amateurs with GoPros or iPhones don't have such a messy job, Documentarists never shake so badly with a heavy camera, and NEVER throw the zoom into the 100's like crazy. Not even kids do it that way today. They know better.
If they wrote a better opening, if the acting wasn't so cheesy and if the cameras (not the sound ???) were not handled by monkeys, this could be a fun film to watch.
So... don't feel committed as I did. Just watch the first 20 minutes and you'll see for yourself. It's not fair to write so badly when you're trying to catch the imagination of your audience. But they did it in a very lame way. I don't know if they caught anybody's imagination at all.
The other thing that doesn't help is the hand-held shooting of the film. Real life amateurs with GoPros or iPhones don't have such a messy job, Documentarists never shake so badly with a heavy camera, and NEVER throw the zoom into the 100's like crazy. Not even kids do it that way today. They know better.
If they wrote a better opening, if the acting wasn't so cheesy and if the cameras (not the sound ???) were not handled by monkeys, this could be a fun film to watch.
Trust
(I) (2010)
10 million dollar film gets 600,000 in Box Office
21 April 2016
It took almost ten million dollars to make this film. A lot of work with the script. Pristine performances. Lots of locations. Many people involved in the process. Captured the minds of viewers at the TIFF. And became a lemon raising 590,000 dollars worldwide (!).
It's completely mind-blowing.
This film may not be a scientific work of investigation or a depiction of something that happens to millions. Truth to be said, this film was made for Americans to watch, but... know what? Americans don't want to watch this kind of films. People get scared. Some people may even sue the producers, or the writers, or the director for the subject and the way it was treated.
But this film is what it should be. A fantastic drama about a crime that makes your skin crawl. A beautifully produced film with difficult roles and moving performances. A believable story with believable actors (it's very uncommon for an American film to use actors the same age as that of their characters. For this film it meant everything! Casting 14- year-old Liana Liberato was the key to making Annie believable. And believable she is! Liana's performance is beyond performing: she portrays very complex emotions and states of mind in a way that few pros could summon.
A must see for everyone.
It's completely mind-blowing.
This film may not be a scientific work of investigation or a depiction of something that happens to millions. Truth to be said, this film was made for Americans to watch, but... know what? Americans don't want to watch this kind of films. People get scared. Some people may even sue the producers, or the writers, or the director for the subject and the way it was treated.
But this film is what it should be. A fantastic drama about a crime that makes your skin crawl. A beautifully produced film with difficult roles and moving performances. A believable story with believable actors (it's very uncommon for an American film to use actors the same age as that of their characters. For this film it meant everything! Casting 14- year-old Liana Liberato was the key to making Annie believable. And believable she is! Liana's performance is beyond performing: she portrays very complex emotions and states of mind in a way that few pros could summon.
A must see for everyone.
El Señor de los Cielos
(2013– )
From Great to Failure
14 February 2016
The story of Amado Carrillo Fuentes, the drug-lord who even flew 727's full of cocaine to the Sonoran desert and left them abandoned, is one of those things in Mexican folklore that reaches the whole social ladder. In this series, produced by Telemundo and manufactured by Argos, the narrative reveals what most people knew from newspapers and the official TV chain, Televisa.
In Season 1, the story and the characters are believable, true to the lore and truly scary. It's something that Colombians and Mexicans know too well. The characters are easily recognisable and the performances of some of the actors are very good. But, story-wise, it's one of those unforgettable series, along with the Caracol productions of El Cartel de los Sapos and El Señor del Mal, Pablo Escobar.
It's sad to see that, to keep the franchise going on forever, Telemundo decided to go to the lengths of creating something so badly scripted as the rest of the seasons. It's a shame to see how the characters lose their soul, the story is contrived, absurd and predictable to the smallest detail. It becomes a classic telenovela, instead of the powerful and dramatic series Season 1 was.
Definitely, the production values are good, but never on par of those from Caracol's lush environments, period props, enticing characters and the powerful Colombian actors. It may be almost impossible to have a character that instills fear as Andres Parra's interpretation of Pablo Escobar in El Cartel de los Sapos and Pablo Escobar, El Patron del Mal.
I guess you should stop when things are done and never try second parts when they're not needed. Numbers never lie. That's what happened to this fantastic story when they decided to "create" something people would never feel related to. A pity. Watch Season 1, you won't be disappointed,
In Season 1, the story and the characters are believable, true to the lore and truly scary. It's something that Colombians and Mexicans know too well. The characters are easily recognisable and the performances of some of the actors are very good. But, story-wise, it's one of those unforgettable series, along with the Caracol productions of El Cartel de los Sapos and El Señor del Mal, Pablo Escobar.
It's sad to see that, to keep the franchise going on forever, Telemundo decided to go to the lengths of creating something so badly scripted as the rest of the seasons. It's a shame to see how the characters lose their soul, the story is contrived, absurd and predictable to the smallest detail. It becomes a classic telenovela, instead of the powerful and dramatic series Season 1 was.
Definitely, the production values are good, but never on par of those from Caracol's lush environments, period props, enticing characters and the powerful Colombian actors. It may be almost impossible to have a character that instills fear as Andres Parra's interpretation of Pablo Escobar in El Cartel de los Sapos and Pablo Escobar, El Patron del Mal.
I guess you should stop when things are done and never try second parts when they're not needed. Numbers never lie. That's what happened to this fantastic story when they decided to "create" something people would never feel related to. A pity. Watch Season 1, you won't be disappointed,
Joy
(I) (2015)
Witty humor
7 February 2016
Since there are already almost 200 reviews, I will go in a different direction. When I got to the middle of the film, I was thinking about the style of the Cohen's. This films starts with a brilliant idea. The funny moments are very good. They're stylish, peculiar, really funny and excruciatingly naughty.
De Niro, as always, delivers some of the most pungent lines. Expectations grow inside you as soon as you see a plumber falling in love with Joy's mum... or the other way around.
The cinematography is an element that plays a key role in the story. I wouldn't say this film is depressing. The tones, the lighting, the interior shots never lead the audience to feel depressed. And, since the relationship between all the characters is so dysfunctional and dystopian, the film feels OK with all the funny things that happen in the first part. Yes, dark comedy, but "open" comedy... they never tried to do anything else, just to put incredibly absurd elements to it so you enjoy them from the very beginning.
What happens in the second part is superbly shot. A different approach, more stylised, more "in your face" and brutal. But as good as the cinematography is, the story certainly suffers of some sort of "what happened to it?" that can't be put aside. It's entertaining, yes, but a bit off-colour. The believability we had before (remember... comedy) turns into a serious affair. And it's not that brilliant.
The cast is star-studded and Jennifer Lawrence definitely shines in the first part. I wouldn't say the same about the second part of the film... it struggles with the story and it is completely predictable (Jennifer still does a great job, more an X-Girl than Joy). I loved it, anyway, because it's full of "coenish" details, dark humour and wit. I expect something big in the future from this team.
De Niro, as always, delivers some of the most pungent lines. Expectations grow inside you as soon as you see a plumber falling in love with Joy's mum... or the other way around.
The cinematography is an element that plays a key role in the story. I wouldn't say this film is depressing. The tones, the lighting, the interior shots never lead the audience to feel depressed. And, since the relationship between all the characters is so dysfunctional and dystopian, the film feels OK with all the funny things that happen in the first part. Yes, dark comedy, but "open" comedy... they never tried to do anything else, just to put incredibly absurd elements to it so you enjoy them from the very beginning.
What happens in the second part is superbly shot. A different approach, more stylised, more "in your face" and brutal. But as good as the cinematography is, the story certainly suffers of some sort of "what happened to it?" that can't be put aside. It's entertaining, yes, but a bit off-colour. The believability we had before (remember... comedy) turns into a serious affair. And it's not that brilliant.
The cast is star-studded and Jennifer Lawrence definitely shines in the first part. I wouldn't say the same about the second part of the film... it struggles with the story and it is completely predictable (Jennifer still does a great job, more an X-Girl than Joy). I loved it, anyway, because it's full of "coenish" details, dark humour and wit. I expect something big in the future from this team.
Italian experiments
11 January 2016
Asia Argento keeps the tradition of her father's fantastically crazy, brutal and experimental films. She knows how to deal with the darkness, the horror of something people wouldn't even dare to talk about. With a cast that really works, Asia Argento brings a truthful film, a brutal film to ponder about three things: Love, lust and loneliness. All with a sprinkle of religious fanaticism, drugs and deeply disturbed minds.
Acting is, by all means, what makes this film so strong. All performances are brilliant. The "experimental", almost child-like cinematography is unnerving and spot-on. The music and all the other elements in sound design are equally chilly.
The fact that a little boy is involved in the film, makes it more disturbing. Asia Argento (I suppose) played the main role because I guess it wouldn't be easy to ask any other one to do so in America.
I hope no American director or writer will even try to do a re-make of this film, because it's pure giallo in the 2000's, and that's a big thing. Sure, it's a hellraiser for many, but it absolutely shines as what it was intended to be. Many people may not like these sort of genre (giallo is a genre in itself) and will be repelled even by the idea of watching it. So don't. But for people who like European films that usually are honest and brutal, well... you won't easily find anything in this era made in the US so giallo :)
Thumbs up for Asia... she's always been a great actress (even when she was pretty young, she appeared in some of her dad's films), a great writer and a daring director.
Acting is, by all means, what makes this film so strong. All performances are brilliant. The "experimental", almost child-like cinematography is unnerving and spot-on. The music and all the other elements in sound design are equally chilly.
The fact that a little boy is involved in the film, makes it more disturbing. Asia Argento (I suppose) played the main role because I guess it wouldn't be easy to ask any other one to do so in America.
I hope no American director or writer will even try to do a re-make of this film, because it's pure giallo in the 2000's, and that's a big thing. Sure, it's a hellraiser for many, but it absolutely shines as what it was intended to be. Many people may not like these sort of genre (giallo is a genre in itself) and will be repelled even by the idea of watching it. So don't. But for people who like European films that usually are honest and brutal, well... you won't easily find anything in this era made in the US so giallo :)
Thumbs up for Asia... she's always been a great actress (even when she was pretty young, she appeared in some of her dad's films), a great writer and a daring director.
Everyday
(I) (2012)
Chiaroscuro
14 December 2015
One feat may be this film was shot in a five-year period of time. Boyhood in twelve. No problem. But a great deal, anyway. The thing is the story. Always the story. Here, Winterbottom takes us in the lives of people who have to do what they have to do, every day. And it's exactly that every day life which gives meaning to any life.
The kids (I imagine all of them siblings in real life) are just themselves all the time. No hidden tricks, no acting. They are the glue of everything here. And yes, they deliver what any kid their age would do in life: living as a kid. It has the feel of a documentary. The hand held camera is a clear sign of this, as is also the camera in the car, the perfectly captured whispers... as if we were intruding in their every day lives.
The beauty of the story is the chiaroscuro of its scenes and of its pace. Quiet and bucolic at times, raucous and city-driven in other moments. I applaud the way this film was made and all the people involved in making it happen. Beautiful.
The kids (I imagine all of them siblings in real life) are just themselves all the time. No hidden tricks, no acting. They are the glue of everything here. And yes, they deliver what any kid their age would do in life: living as a kid. It has the feel of a documentary. The hand held camera is a clear sign of this, as is also the camera in the car, the perfectly captured whispers... as if we were intruding in their every day lives.
The beauty of the story is the chiaroscuro of its scenes and of its pace. Quiet and bucolic at times, raucous and city-driven in other moments. I applaud the way this film was made and all the people involved in making it happen. Beautiful.
Maicol Jecson
(2014)
Funny, witty
23 August 2015
It's a crazy search for a first time encounter for Andrea. In his quest there's a bit of a hurdle: his brother. A nine year old whose love for Michael Jackson takes his life entirely. Summer and parents out, the plan in Andrea's mind is going to be a journey of a lifetime. Enter "nonno" Cesare. A fantastic character that will define the film.
We must recognise the Italian way of doing things and this film is as witty and funny as it gets. A lovely story with lots of laughs and a bit of introspection into our lives.
A very well written comedy for our times. Good music, good vibe, good cinematography, and exceptionally good performances. A film that makes you laugh a lot and gives you a lot to think about. You'll fall in love with Cesare and Tomasso.
We must recognise the Italian way of doing things and this film is as witty and funny as it gets. A lovely story with lots of laughs and a bit of introspection into our lives.
A very well written comedy for our times. Good music, good vibe, good cinematography, and exceptionally good performances. A film that makes you laugh a lot and gives you a lot to think about. You'll fall in love with Cesare and Tomasso.
The Bélier Family
(2014)
Expect more
19 July 2015
The Béliers are a pretty different family. They're deaf and mute. They live in the countryside and they are a loving family with two children. With one caveat: their daughter is their ears and voice.
As French cinema goes, this film is at its best. The performances, and the whole idea behind the film is so deep and so original, it will make you think twice about life.
It's pretty difficult for me to restrain on accolades and praise. The writers, the director, the crew and each and every actor on this piece are a team out of the ordinary. I mean, a film like this is what makes film making and story telling worth it. As it happens more often than not, French cinema is on the top list of the best films in the world. Sadly for those who expect lots of action, the French rarely oblige. They go deep into the soul of their characters. This is not a cute film, this is a serious work of art that transcends beliefs, races and countries. I would put it as one of those films not to be missed. Chapeau!
As French cinema goes, this film is at its best. The performances, and the whole idea behind the film is so deep and so original, it will make you think twice about life.
It's pretty difficult for me to restrain on accolades and praise. The writers, the director, the crew and each and every actor on this piece are a team out of the ordinary. I mean, a film like this is what makes film making and story telling worth it. As it happens more often than not, French cinema is on the top list of the best films in the world. Sadly for those who expect lots of action, the French rarely oblige. They go deep into the soul of their characters. This is not a cute film, this is a serious work of art that transcends beliefs, races and countries. I would put it as one of those films not to be missed. Chapeau!
The Babadook
(2014)
A New Standard
17 May 2015
Warning: Spoilers
Out of her drama and acting career, Jen Kent became Director with "Monster", a must- see short.
She spent years crafting her script for The Babadook and she came with a story that, really, sets a new standard for films with "soul".
Mind you, this is not for the faint-hearted. This is a serious, thoughtful and deep film shrouded in the myths of horror. I couldn't even call this a genre film, because it would be an understatement. What Jen Kent did with her script is not just a "monster" film, which it is, nor a horror flick, which it is, neither a psychological thriller, which it also is... so, to call this script a "genre" thing is out of question. She created a film with a deep rooting in human's ordinary life. Such as in being a mum (in this case, Amelia, played by Essie Davis... wow!)
Mothers can be loving, but they're all subjected to being mothers. And this film goes deep into that reality. More so, it goes where few films would willingly dare to go, and that's when a normal and caring mum simply snaps. Then, there's a very peppery ingredient added to the mix: this particular mum is struggling with the loss of her husband almost seven years ago, and simply can't get to terms with it. She grieves and is in pain and can't put her past away.
Her son is a sun, but a difficult and bright one. And he's not "normal". I mean, not by the standards of "normal" society usually adopts. This child believes and "knows" a particular monster lurks and actually lives in his cupboard. And he "thinks"... and knows.
Said son, Sam (played unbelievably well by six year-old Noah Wiseman) wants to protect his mum from the monster. She knows it from a weird book (a beautiful character in the film) that recurrently tells her he's well and alive and he wants the boy.
This film is a roller-coaster of emotions pretty well beyond any "horror" film I can remember after "The Shining".
Little budget, but great creative team. Superb design and sets. Masterful direction and cinematography that defines a new standard, too, for a film like this.
Some people would like to measure this film with some recent very good (the recent very good) films like The Conjuring. Well, no. This one is a masterpiece of story-telling and a film that resonates constantly with every day struggles in life. This is not science fiction, nor horror. I suggest to put it in a category of its own.
I wouldn't hesitate to pit this film against some works from Bergman or Lynch. Absolutely outstanding.
She spent years crafting her script for The Babadook and she came with a story that, really, sets a new standard for films with "soul".
Mind you, this is not for the faint-hearted. This is a serious, thoughtful and deep film shrouded in the myths of horror. I couldn't even call this a genre film, because it would be an understatement. What Jen Kent did with her script is not just a "monster" film, which it is, nor a horror flick, which it is, neither a psychological thriller, which it also is... so, to call this script a "genre" thing is out of question. She created a film with a deep rooting in human's ordinary life. Such as in being a mum (in this case, Amelia, played by Essie Davis... wow!)
Mothers can be loving, but they're all subjected to being mothers. And this film goes deep into that reality. More so, it goes where few films would willingly dare to go, and that's when a normal and caring mum simply snaps. Then, there's a very peppery ingredient added to the mix: this particular mum is struggling with the loss of her husband almost seven years ago, and simply can't get to terms with it. She grieves and is in pain and can't put her past away.
Her son is a sun, but a difficult and bright one. And he's not "normal". I mean, not by the standards of "normal" society usually adopts. This child believes and "knows" a particular monster lurks and actually lives in his cupboard. And he "thinks"... and knows.
Said son, Sam (played unbelievably well by six year-old Noah Wiseman) wants to protect his mum from the monster. She knows it from a weird book (a beautiful character in the film) that recurrently tells her he's well and alive and he wants the boy.
This film is a roller-coaster of emotions pretty well beyond any "horror" film I can remember after "The Shining".
Little budget, but great creative team. Superb design and sets. Masterful direction and cinematography that defines a new standard, too, for a film like this.
Some people would like to measure this film with some recent very good (the recent very good) films like The Conjuring. Well, no. This one is a masterpiece of story-telling and a film that resonates constantly with every day struggles in life. This is not science fiction, nor horror. I suggest to put it in a category of its own.
I wouldn't hesitate to pit this film against some works from Bergman or Lynch. Absolutely outstanding.
Hidden Away
(2014)
Mindblowing
6 April 2015
When you have a fantastic script, a serious director and the perfect cast it's almost impossible not to make a good film. Well, with A Escondidas (Hidden Away... not the best translation) Director Mikel Rueda set a new standard.
The story is overwhelming in a subtle, almost muted sense, but overwhelming anyway. The sound landscapes, the colours, the music, and some almost illogical sequences push the audience into a roller-coaster of unnerving feelings and cast a deep shadow not seen but felt throughout the journey of the film.
That journey will leave scars, that may heal someday with love.
It's a journey of self-discovery, of life, of hate, of love. The characters will get you to places you don't want to go, but you have to, you simply can't shake the grip of their hands... they want to show you what's going on inside them.
Some scenes are masterful pieces of acting. There will be a moment in which your heart will explode with emotions and that can't be helped, nor undone. You'll be smitten. You'll be pulled in a world you don't want to know anything about, yet -you will.
Calling these young actors superb is not an overstatement. It's exactly what they are. Maybe the most beautiful thing is revealing what's happening inside your soul through your eyes, and these kids did it without flinching. Not only believable, they are real.
Carrying most of the weight of the film is Germán Alcarazu when he was 15 playing the part of Rafa . Pairing with best friend Guille (Joseba Ugalde) and new Moroccan friend Ibra (Adil Koukouh), he's our guide. Their friends will show us what denial and real love are about.
Since my intention is not to reveal the story, please watch the film. You'll be rewarded with pure magic.
The story is overwhelming in a subtle, almost muted sense, but overwhelming anyway. The sound landscapes, the colours, the music, and some almost illogical sequences push the audience into a roller-coaster of unnerving feelings and cast a deep shadow not seen but felt throughout the journey of the film.
That journey will leave scars, that may heal someday with love.
It's a journey of self-discovery, of life, of hate, of love. The characters will get you to places you don't want to go, but you have to, you simply can't shake the grip of their hands... they want to show you what's going on inside them.
Some scenes are masterful pieces of acting. There will be a moment in which your heart will explode with emotions and that can't be helped, nor undone. You'll be smitten. You'll be pulled in a world you don't want to know anything about, yet -you will.
Calling these young actors superb is not an overstatement. It's exactly what they are. Maybe the most beautiful thing is revealing what's happening inside your soul through your eyes, and these kids did it without flinching. Not only believable, they are real.
Carrying most of the weight of the film is Germán Alcarazu when he was 15 playing the part of Rafa . Pairing with best friend Guille (Joseba Ugalde) and new Moroccan friend Ibra (Adil Koukouh), he's our guide. Their friends will show us what denial and real love are about.
Since my intention is not to reveal the story, please watch the film. You'll be rewarded with pure magic.
Ellos Volvieron
(2015)
A true mind-bender
25 February 2015
Warning: Spoilers
From the opening titles to the last scene, this film exudes tension, beauty and the uncanny feeling of rotting scents. It is cryptic in its tone and the imagery definitely underlines it.
Set in the second decade of the 21st Century, the film revs up from a fantastic high speed collage of our planet and beyond, from the stars to the life of cells, to an unnerving black and white flashback of atrocities during WW2. Carefully crafted, the Director brings us back to reality by the hands of three children. They are the cryptic centre of the film. They seem to be back in town from a gruesome recent past which we don't understand. Just a wee bit of insight into the life of Lucio's family, brings to the audience snippets of the reasons why the kids are so weird. They don't talk at all and it seems their muteness is affecting the other children in town.
Strange things happen. People know the three children have been abducted and sexually mutilated, and they make their own assumptions while some of them die terrible and inexplicable deaths one after the other. A drawing of a second grader adds to the mystery, depicting one of those deaths before they happened.
Police, inspectors, a judge, the school principal, a psychologist, parents, even the priest from the parish, all play a part in the unravelling of a crazed community that turns against itself, inflicting division, fear and pain. Judgemental and brutal, they are decided to eliminate whoever committed the atrocities they believe in. They have such a strong belief, they decide to make "the list" of all the possible molesters in town, even when they know there are none. They create their own world of suspicion and hatred that will eventually destroy them.
But, unbeknown to them, the children have a common goal and they are relentless in achieving it. As evil prevails everywhere, gossip and a deep distrust make life unbearable in town. The omens coming from the only sane person -a teacher, are regarded as the source of the evil that keeps spreading. The kids are committed because they lost everything before but their souls.
Only after everything is said and almost done, we get to understand their true reality. What happened to them. Why they returned.
This film is inspired by the West Memphis Three case, but goes beyond what we know. It delves into the complicated political issues around finger pointing, lying, preposterous judgment, crowd mentality and irresponsible assumptions.
It's a fantastic journey, paced at the necessary speed to understand the complexity of human behaviour. Crafted with beautiful cinematography and scored with subtle and delicate musical passages, Ellos Volvieron is a mind bender.
Set in the second decade of the 21st Century, the film revs up from a fantastic high speed collage of our planet and beyond, from the stars to the life of cells, to an unnerving black and white flashback of atrocities during WW2. Carefully crafted, the Director brings us back to reality by the hands of three children. They are the cryptic centre of the film. They seem to be back in town from a gruesome recent past which we don't understand. Just a wee bit of insight into the life of Lucio's family, brings to the audience snippets of the reasons why the kids are so weird. They don't talk at all and it seems their muteness is affecting the other children in town.
Strange things happen. People know the three children have been abducted and sexually mutilated, and they make their own assumptions while some of them die terrible and inexplicable deaths one after the other. A drawing of a second grader adds to the mystery, depicting one of those deaths before they happened.
Police, inspectors, a judge, the school principal, a psychologist, parents, even the priest from the parish, all play a part in the unravelling of a crazed community that turns against itself, inflicting division, fear and pain. Judgemental and brutal, they are decided to eliminate whoever committed the atrocities they believe in. They have such a strong belief, they decide to make "the list" of all the possible molesters in town, even when they know there are none. They create their own world of suspicion and hatred that will eventually destroy them.
But, unbeknown to them, the children have a common goal and they are relentless in achieving it. As evil prevails everywhere, gossip and a deep distrust make life unbearable in town. The omens coming from the only sane person -a teacher, are regarded as the source of the evil that keeps spreading. The kids are committed because they lost everything before but their souls.
Only after everything is said and almost done, we get to understand their true reality. What happened to them. Why they returned.
This film is inspired by the West Memphis Three case, but goes beyond what we know. It delves into the complicated political issues around finger pointing, lying, preposterous judgment, crowd mentality and irresponsible assumptions.
It's a fantastic journey, paced at the necessary speed to understand the complexity of human behaviour. Crafted with beautiful cinematography and scored with subtle and delicate musical passages, Ellos Volvieron is a mind bender.
Nicholas on Holiday
(2014)
Enjoy everything
5 February 2015
I can say, for sure, as all of Goscinny's work, this film will delight kids and grown-ups alike. For children, there's a lot going on for Nicolas and his family during a vacation moved from the mountains to the sea. But for all of us who like light-spirited films as deep ones, this one breaks barriers seldom seen in recent times. If you want to be thrilled by technical issues that will not scream "I'm here" during your first watch, please, watch it again! They designed this film with much more detail than even Goscinny's stories when they were depicted in its time. Color is of the essence. And here, designers got their hands on it as if it was the end of the world. It's stunning, to say the least, the use of color and textures to make this film a truly memorable feat of design. Photography, on the other end, is superb. The night scenes are beautiful and luscious. The time-warp costumes and color matching of absolutely everything helps a lot in telling the story. And to cap it all, the cars are all of the era, and not just "period" cars. They chose a line-up of beautiful museum quality, colorful and perfectly matching cars with specs for the time-frame of the film. If you love the Facel-Vega, Citroën, Peugeot, Renault, Simca... you're in for a treat.
Watch the kids! Watch dad and mom and granny! They are great. Of course, there may be some flaws, but I see them as part of a funny, uplifting, absurd and very very French film. What cinema should always be: entertaining and beautiful, no matter the subject.
Watch the kids! Watch dad and mom and granny! They are great. Of course, there may be some flaws, but I see them as part of a funny, uplifting, absurd and very very French film. What cinema should always be: entertaining and beautiful, no matter the subject.
Perfect Obedience
(2014)
There's a lot to say
1 January 2015
Yes. As the other reviewer (until now) stated. this is not a fantastically crafted film script- wise. But, for people like me, who belonged to one of these incredibly large and powerful organisations for many many years, the script rings so many bells that it becomes a bit unbearable at certain times.
Yes, the cinematography is lush and beautiful. The locations, again, ring true (if you're familiar with the real story behind them), even the looks, the cars, the rituals, the words, the ideas to be ingrained in the children's minds. I mean, mostly everything rings more than one bell in my mind and really made me shiver and feel uneasy most of the film.
Acting-wise, there are many good choices and pretty well known ones. I'd say Manuel gives a terrifying performance that made me cringe more than once.
In the end, the film treats with grace and delicacy things that are not to be shown anymore on the big or small screen because they'll be banned. That's sad, but that's how this kind of experiences and their immense publicity have changed the film industry to tell stories with more guts. I don't blame anyone for that... its' just the way it is and it's a sad thing for the film industry, for the real people, for spectators and for the sake of well-translated books into films.
Since this film covers with flashes a much more complex story, it will never be the "Story of the Legionaires of Christ" in full, but it depicts enough to understand why there was such a huge scandal throughout the world, especially in Mexico. Well done!
Yes, the cinematography is lush and beautiful. The locations, again, ring true (if you're familiar with the real story behind them), even the looks, the cars, the rituals, the words, the ideas to be ingrained in the children's minds. I mean, mostly everything rings more than one bell in my mind and really made me shiver and feel uneasy most of the film.
Acting-wise, there are many good choices and pretty well known ones. I'd say Manuel gives a terrifying performance that made me cringe more than once.
In the end, the film treats with grace and delicacy things that are not to be shown anymore on the big or small screen because they'll be banned. That's sad, but that's how this kind of experiences and their immense publicity have changed the film industry to tell stories with more guts. I don't blame anyone for that... its' just the way it is and it's a sad thing for the film industry, for the real people, for spectators and for the sake of well-translated books into films.
Since this film covers with flashes a much more complex story, it will never be the "Story of the Legionaires of Christ" in full, but it depicts enough to understand why there was such a huge scandal throughout the world, especially in Mexico. Well done!
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