O SEGREDO DE BERLIM (THE GOOD GERMAN, USA,
2006)
– O filme de Steven Soderbergh é muito ruim. Ao emular Casablanca, o roteiro se
perde numa tentativa de se tornar um clássico contemporâneo. George Clooney e
Cate Blanchett têm uma atuação muito abaixo do nível de suas carreiras, e Tobey
Maguire ainda parece estar preso nas teias do Homem-Aranha. A fotografia baça
não ajuda em nada. É um pastiche imperdoável em que nada funciona. Steven Soderbergh’s movie is pretty lousy. Emulating
CASABLANCA, the script gets lost in an attempt of becoming a contemporary
classic. George Clooney and Cate Blanchett perform poorly, and Tobey Maguire
seems to be still entangled in Spiderman’s web. The bland photography does not
help the story in any way. It is an unforgivable pastiche of many other movies.
Prime.
SEM RASTROS (LEAVE NO TRACE, USA, 2018) – Um dos
melhores filmes de 2018, essa produção indie é um drama comovente sobre a
relação pai-filha, principalmente pelas atuações marcantes de Ben Foster e
Thomasin Mckenzie. This film works on all levels. The cinematography has a docu-drama feel,
with hand-held camera-work that intimately observes the father and daughter
bond. This is pitched perfectly because of the understated authenticity of
performance by Foster and McKenzie. It must have been tempting to dramatize the
veteran's trauma but here it is expressed entirely through Foster's eyes and
silent stare. McKenzie consumes her role, emerging from the cocoon of
adolescence to a butterfly, vibrant, caring, and grounded in self-belief. The
dynamic between them is the scaffold that raises the story beyond expectations.
POBRES
CRIATURAS (POOR THINGS, USA, 2023)- The film explores themes of personal
transformation and breaking free from societal constraints. Close-up shots
capture Stone's expressive eyes and facial expressions, revealing her ability
to access a deeper sense of humanity. Driven by a courageous and physically
committed performance from Stone, the film follows her journey as Bella Baxter,
at the start of the picture a barely verbal blank slate, who embarks on an
autodidact voyage of discovery to become the ultimate self-made woman. Stone’s virtuoso use of her body – the
way it inhabits space, the way she gradually masters her gangling, string-like
limbs, the guilelessly open play of emotions in her face – is one of the most
crucial elements in our experience of Bella’s journey. That journey is
supported by a deliciously eccentric score by Jerskin Fendrix. An uneasy,
detuned four-note motif played on flayed violin strings opens the film and
returns in various incarnations throughout, sounding at one point like a hippo
mating with a harmonium. The gradual build of intricacy and sophistication in
the music brilliantly mirrors Bella’s intellectual growth.
OPPENHEIMER (USA, 2023) –
Vencedor de 7 Oscar, o filme de Christopher Nolan é realmente um estouro, desde
a atuação soberba de Cillian Murphy ao roteiro e fotografia perfeitos. The screenplay is dense and
layered, cinematography is quite stark and spare for the most part but imbued
with rich, luscious color in moments (especially scenes with Florence Pugh),
the score is beautiful at times but mostly anxious and oppressive, adding to
the relentless pacing. The 3-hour runtime flies by. All in all, the movie is a masterpiece,
intense, taxing but highly rewarding watch. This is film making at its
finest. Prime.
TWO AND A HALF MEN – TEMP 5 (USA, 2005) –
Destaque para o episódio 5, no qual Alan participa de um estudo preliminar de
um remédio para ganhar um dinheiro extra. No episódio 17, temos uma paródia do
CSI, durante o casamento de Evelyn com Teddy. The highlight is episode 5, in which Alan becomes part of a drug study
to make extra money. Episode 17, also great, is a parody of CSI, during
Evelyn’s marriage.
TWO AND A HALF MEN – TEMP 4 (USA, 2006) – O
episódio mais engraçado é o 7, no qual Alan revela seu fetiche, quando vê a
filha grávida de Berta. Destaque também para o último episódio, em que Teddy
(Robert Wagner) aparece como namorado de Evelyn. The funniest episode is number 17, in which Alan reveals his fetish,
when he meets Berta’s pregnant daughter. The last episode is also great – we
are introduced to Teddy (Robert Wagner), Evelyn’s boyfriend.
