3751 - GALVESTON - DESTINOS CRUZADOS (2019)

1.       GALVESTON, DESTINOS CRUZADOS (GALVESTON, USA, 2019) – O primeiro filme dirigido por Mélaine Laurent é perfeito na criação de um road movie quase hipnótico. Ben Foster possui a gravitas do fugitivo à beira da morte, e Elle Fanning está encantadora como uma prostituta tentando escapar de uma tragédia familiar junto com sua irmã. This one of a very sensitive and moving love story, but not as you may expect. A depressing and not very hopeful film. A former gangster is on the run in Texas and meets a young girl who runs also away with her little sister. Melanie Laurent gives a true lesson of dramatization in this inspiring movie.

 

3750 - ACROSS THE UNIVERSE (2007)

1.      


ACROSS THE UNIVERSE (USA/UK, 2007) – Obrigatório para qualquer beatlemaníaco (somos sempre, não?), o filme de Julie Taymor é uma delicadeza só, costurando mais de 30 músicas do grupo com uma história de amor (como deve ser). O pano de fundo é, claro, a década de 60 e as manifestações anti-Vietnã e pelos direitos civis, nos EUA, onde Jude (Jim Sturgess, a cara do Paul) conhece Lucy (Evan Rachel Wood, mais linda impossível) e se apaixona por ela. As várias leituras do roteiro vão sendo descobertas a cada cena, com as canções refigurando uma história cada vez mais parecida com a nossa, não há como negar. Como disse, obrigatório para quem tem um quadro dos quatro de Liverpool atravessando Abbey Road, mas ainda um pouco abaixo do maravilhoso YESTERDAY, de Danny Boyle. Obligatory to any beatlemaniac (aren’t we always?), Julie Taymor’s movie is a delicate piece of poetry, sewing 30 Beatles songs with a love story (as it must be). The scenery is, of course, the 60s and anti-war protest and the struggle for civil rights in America, where Jude (Jim Strugess, looking like Paul) meets Lucy (Evan Rachel Wood, more gorgeous impossible) and falls in love with her (who would’t?). The many layers of the script pop out in every scene and the songs keep reshaping the story that seems more similar to ours. As I stated, it is obligatory for those who have an Abbey Road poster hanging on the wall, but a little bit less than the wonderful Danny Boyle’s YESTERDAY.

3749 - VENON (2018)

Venon

Venon ajustando contas

VENON (USA, 2018) – Versão millenniun de O MÉDICO E O MONSTRO, o filme de Ruben Fleischer (do ágil ZUMBILÂNDIA) ficou melhor para mim depois de vê-lo de novo. Tom Hardy parece à vontade com o personagem, mas Michelle Williams foi, certamente, uma escolha equivocada para o papel. É uma oportunidade de ver Riz Ahmed, um assombro em O SOM DO SILÊNCIO, num papel anterior, já dando mostras do talento inequívoco. A revelação (depois dos créditos finais, seus otários) de que Woody Harrelson vai ser o próximo vilão, Cletus Kasady, só aumenta a expectativa de uma sequência superior. Millennium version of DR. JACKILL AND MR. HYDE, Ruben Fleischer (ZOMBIELAND) has got much better after a second viewing. Tom Hardy seems at easy with the character, but Michelle Williams was a bad choice for her role. Anyway, it is an opportunity to seen Riz Ahmed, a giant in THE SOUND OF METAL, in a previous role, but already talented. The hint (after the final credits, morons) that Woody Harrelson is going to be the next villain, Cletus Kasady, just raises the expectations of a superior sequence.

 

3748 - ESTRADA SEM LEI (2019)

ESTRADA SEM LEI (THE HIGHWAYMEN, USA, 2019) – Bonnie e Clyde estão à solta, aterrorizando o meio-oeste americano nos anos 30. Dois detetives veteranos são chamados para pôr fim ao banho de sangue provocado pela dupla. A partir daí, tudo funciona: dois atores obrigatórios – Kevin Costner e Woody Harrelson – uma direção segura a cargo de John Lee Hankcock, cenografia perfeita e a fotografia belíssima. Tudo isso faz do filme um prazer a ser revisitado de tempos em tempos. Bonnie and Clyde are at loose, terrifying the Middle-west in America in the 30s. Two veteran detectives are summoned to put an end to the bloodshed. From that point on, everything works: two obligatory actors – Kevin Costner and Woody Harrelson – a steady direction in charge of John Lee Hankcock, pristine cinematography and an outstanding photography. The movie is a pleasure to be revisited from time to time. 

  

3747 - VOZES E SUSSURROS (2021)

Amanda Seyfried

1.       VOZES E SUSSURROS (THINGS HEARD & SEEN, USA, 2021) – As presenças de Amanda Seyfried e de F. Murray Abraham podiam ser a garantia de um bom filme. No entanto, o roteiro não ajuda. Uma casa mal-assombrada, um marido sonolento, um professor enganador, um fantasma meio ausente, uma falsa carta de recomendação, um anel perdido (administrando tudo), uma menina levada, amor à primeira vista, jantares esquisitos com pessoas idem, a esposa de Indiana Jones, sangue, machados, serial killer, tudo muito mal misturado. Só com o cérebro em ponto morto.  The presences of Amanda Seyfried and F. Murray Abraham could have been a safe path. However, the script is not up to the cast. A haunted house, a sleepy husband, a weaving professor (inspired obviously from MIT), an ugly ghost, a fake recommendation letter, a lost ring (to rule them all), a naughty cowgirl, love at first sight, awkward dinners with strangers, the wife of Indiana Jones, blood, axes, serial killer, all badly mixed. Only with your brain in plane mood. Netflix. 

 

3746 - DESPEDIDA EM LAS VEGAS (1995)

Os 10 minutos mais arrasadores do cinema

.       DESPEDIDA EM LAS VEGAS (LEAVING LAS VEGAS, USA, 1995) – Nicolas Cage ganhou seu primeiro Oscar mais que merecidamente. São, talvez os dez primeiros minutos mais arrasadores do cinema a cargo de um ator. Da mesma forma, Elizabeth Shue é outra força da natureza, tão bela, tão trágica, a ponto de nos deixar tontos. O filme é pura dor, desolação e falta de esperança. É um estudo de aceitação, resignação e desespero de dois personagens num torvelinho de autodestruição. A química entre Cage e Shue transborda da tela. Cage won his first Oscar for his role as Ben, and how deserved it was. Maybe the most compelling first 10 minutes ever. He was astounding, perfection, down to every single tick, the volume of his voice, the pain and tragedy buried in his eyes. I could not believe the extent of his role, the dedication and time he invested in bringing this character to life. Same goes for Elizabeth Shue, who with a simple glance at a person, she reveals her entire self, and no one even dares to notice except for Ben. Leaving Las Vegas" is pain, isolation and honesty... An unusual picture of human desperation and lack of hope... A study of acceptance, resignation and despair of an amazing two characters... An examination of what happens when two lovers are caught in cycles of self-destruction... The film is extremely well written, directed and acted... The chemistry between Cage and Shue is sizzling... They are able to solve their existential frustrations by connecting in perfect harmony, and yet they are still completely alone...

 

3745 - VOCÊ VAI CONHECER O HOMEM DOS SEUS SONHOS (2010)

VOCÊ VAI CONHECER O HOMEM DOS SEUS SONHOS (YOU WILL MEET A TALL DARK STRANGER, USA, 2010) – Meio caminho entre o drama e a comédia, não é dos melhores trabalhos de Woody Allen. De certa forma, os temas tradicionais do universo woodyalleniano estão presentes mais uma vez: relacionamentos desgastados, casamentos em crise, a busca da juventude, o fim inevitável dos sonhos amorosos diante do torvelinho das angústias e das frustrações. Ainda não entendi bem o que Anthony Hopkins está fazendo num papel infinitamente menor do que seu talento. Half way between drama and comedy, it is not ne of Woody Allen’s best works. Anyhow, the traditional themes of woody Allen’s universe are present once more: broken relationships, marriages on the verge of a crisis, search for youth, the inevitable end of loving dreams in the whirlpool of suffering and frustrations. I have not understood what Anthony Hopkins is doing on a role that is clearly not up to his talent.

 

3744 - PIECES OF A WOMAN (2020)

Vanessa Kirby

PIECES OF A WOMAN (USA, 2020) – O título é mais do que adequado – é assim mesmo, em pedaços, que Martha (Vanessa Kirby) se sente depois que sua filha morre logo depois do nascimento. Vanessa dá conta do papel difícil, mas é Ellen Burstyn que faz do drama uma arte maior: suas cenas são talento puro. A nota dissonante é o sempre baixo-astral Shia LaBeouf e seu personagem totalmente incoerente. No mais, é um filme sobre perdas e as diferentes formas de lidar com elas. The title is more than adequate – that how Martha (Vanessa Kirby) feels after a devastating loss: in pieces. Vanessa is perfect in a tough role, but it is Ellen Burstyn who elevates the dramatic level of the script: her scenes are pure talent. The jarring note is the haunted Shia LaBeouf and his totally incoherent character. All and all, it a movie about losses and the diverse ways to cope with them. 

 

3743 - O PROFESSOR (2019)

Depp, mais que Sparrow...

THE PROFESSOR (USA, 2018) – Ótima oportunidade para Johnny Depp provar que pode ser mais do que Jack Sparrow. Aqui, ele é um professor com uma doença terminal – a notícia vem logo no início do filme e, como sói acontecer neste tipo de história, as descobertas vão acontecendo entre lágrimas. Mas o filme é surpreendentemente bom, quase narrado pela voz cada vez mais grave de Depp, um ator cujo talento dramático está muito além dos tipos esquisitos as quais nos acostumamos. That’s a great opportunity for Johnny Depp to prove that he can be much more than Jack Sparrow. Here, he is a prefessor with a terminal disease  - the news breaks in the beginning of the movie and, as it happens in this kind of story, existencial discoveries come along with tears. But the movie is surprisingly good, almost narrated with Depp’s graver voice, a great actor whose dramatic talent goes much farther of the odd characters to which we have accostumed. Prime.  

 

3742 - BREAKING BAD - QUINTA TEMPORADA (2012)

 BREAKING BAD – QUINTA TEMPORADA – Apenas cascas das pessoas que um dia foram, Walt e Jessie estão cada vez mais distantes do mundo de onde vieram. Nesta última temporada, assistida com o coração na mão, tudo se encaixa perfeitamente. Parabéns ao elenco e a Vince Gilligan – BB boquiabriu-me inúmeras vezes. É uma história simples, bem executada que, graças ao roteiro perfeito e uma abordagem realística de pessoas comuns, e de como suas escolhas as levaram a uma total transformação de suas personalidades, transformou-se numa obra-prima.  Walt and Jesse are shells of the people they once were, the unique personalities they once had, and the families and ones they loved that they lost. During this season from start to finish I was completely still, heart racing as I inched towards the end. Closure is done, the season comes to its finale exactly how I wanted and almost all the fans wanted it to end. BREAKING BAD showed how a simple story with the right execution can become something fantastic and the source to all of that is writing, writing and again writing. BREAKING BAD dropped my jaw more that I can remember. It showed how a drama can frighten its audiences literally, not by gruesome ferocity but by simply by the story itself. A completely realistic approach into normal people's lives and brilliant concept into showing how circumstances and choices can really transform a normal person's personality. A masterpiece. 

 

3741 - SEGREDOS OFICIAIS (2019)

1. SEGREDOS OFICIAIS (OFFICIAL SECRETS, UK, 2019) - O longa é baseado no caso de Katherine Gun (Keira Kneighley), uma tradutora do Government Communications Headquarters (GCHQ, agência da inteligência britânica responsável por vigiar os meios de comunicação) que, em 2003, vazou uma ordem de seus superiores para, a pedido do governo dos Estados Unidos, espionar membros do Conselho de Segurança da ONU para adquirir informações que pudessem ser usadas para convencer as delegações a votarem a favor da guerra do Iraque. Considerando o pedido ilegal e com remorso pelas vidas que seriam perdidas no caso de um confronto, Gun encontrou um jeito de publicar a ordem, sendo então enquadrada no Ato de Segredos Oficiais da constituição britânica, que proíbe qualquer empregado do governo de compartilhar informações consideradas sigilosas com pessoas fora do trabalho. If Official Secrets falls down it’s in a lack of confidence that an audience will follow the complex machinations, constantly recapping to make sure we are all on the same page. It also falls into too many ‘movie-movie’ tropes, be it shout-y British newspaper editors or a last-gasp attempt to stop a key character being deported. As Katharine makes the incredibly brave decision to ‘fess up and GCHQ start threatening her through Scotland Yard, she engages human-rights law firm Liberty, headed by Ben Emmerson (Ralph Fiennes, coasting but classy), to take on her case. 

 

3740 - MEDIDAS EXTREMAS (1996)

1.      MEDIDAS EXTREMAS (EXTREME MEASURES, USA) - The movie, written by Tony Gilroy, is pitched at a higher level than most thrillers; the dialogue is literate and intelligent, and Hugh Grant is more of an everyman than an action hero (he tones down his light comedy mannerisms and emerges as a credible doctor). It's interesting that, at the end, Apted avoids the obligatory action cliches of the usual movie thriller and goes with the strengths of his two actors: Grant and Hackman deliver well-reasoned speeches in defense of their characters.

 

3739 - O SOMBRA (1995)

O SOMBRA(THE SHADOW, USA, 1995) - "The Shadow" is the kind of movie that plays better, the more baggage you bring to it. If you respond to film noir, if you like dark streets and women with scarlet lips and big fast cars with running boards, the look of this movie will work some kind of magic. The story itself may not be so mesmerizing, but who really cares? Style and tone are everything with a movie like this, which wants to bring to life a dark secret place in the lurid pulp imagination.

 

3738 - ASSUNTO DE FAMÍLIA (2018)

ASSUNTO DE FAMÍLIA (SHOPLIFTERS, Japão, 2018) - Shoplifters isn’t driven by plot. For much of the film, we are merely observing this family as they steal or slurp noodles noisily or go to the beach. But slowly, the story builds to a desperately sad and poignant climax. This is the sort of film you will want to see again – to observe the slight shifts in tone, the expressions that reveal the horror of what is going on but also the deep bond that these people have created with each other. Love is as formidable as the loneliness. Reminds of PARASITE in many aspects.

 

3737 -0 BREAKING BAD - TEMPORADA 4 (2011)

1.       BREAKING BAD – TEMPORADA 4 - What’s particularly interesting with season 4 is the way it uses these themes and ideas of jealousy and anger to drive the story forward. It’s not only the driving force for our characters, it’s ultimately both their undoing and their triumph. Some of this is shown quite literally, with a couple of specifically framed shots of video-game Rage sitting on a bookshelf. Other times it’s a lot more subtle and well hidden, with Gus’ true vengeance-fueled mission revealed late on in the game.

3736 - ERA UMA VEZ EM NOVA IORQUE (2013)

Marion Coutillard

ERA UMA VEZ EM NOVA IORQUE (THE IMMIGRANT, USA, 2013) - In American popular culture, and in the private lore of millions of American families, the immigrant experience of the late-19th and early 20th centuries is often presented as a chronicle of struggle and triumph, a parable of dreams come true. In “The Immigrant,” James Gray (who directed the film and wrote it with Richard Menello) tries to push through this rosy nostalgia and recapture some of the terror and strangeness of the journey from the Old World to the New. The film’s period recreation of New York in 1921 is meticulously drawn in rich, dark colors and chiaroscuro displays of light and shadow. According to the color coincidence, Gray is a very conscious filmmaker who lets no visual detail escape his attention, and sometimes that has the effect of making everything seem preserved in amber, or as if we are watching a dream. Moreover, Marion Cotillard is so beautiful and talented that, besides her scenes, she might also steal our hearts.  

 

3735 - A PAIXÃO DE CRISTO (2004)

Monica Bellucci expandindo o sentido de "paixão"

A PAIXÃO DE CRISTO (THE PASSION OF THE CHRIST, USA, 2004) – Comparado com REI DOS REIS (1961), este filme de Mel Gibson é muito mais dramático, ao mostrar as últimas 12 horas de Jesus, dando à palavra “paixão” sua conotação básica de sofrimento. Não há a suavidade da versão de Nicholas Ray, na qual Jefffrey Hunter parece flutar em cada uma de suas cenas. Por outro lado, Jim Caviezel consegue personificar a dor na sua dimensão mais profunda. Há, porém, para todos nós, uma compensação notável: Monica Bellucci é Maria Madalena. Compared to KING OF KINGS (1961), Mel Gibson’s movie much more dramatic, depicting of the last twelve hours in the life of Jesus of Nazareth, on the day of his crucifixion in Jerusalem, giving the word “passion” the basic connotation of grief. There is no lightness here, opposed to Nicholas Ray’s version in which Jeffrey Hunter seems to float in every scene. On the other hand, Jim Caviezel embodies grief in its real dimension. However, there is a remarkable compensation for all of us: Monica Bellucci is Magdalen. 

 

3734 - JANELA SECRETA (2004)

A JANELA SECRETA (SECRET WINDOW, USA, 2004) - ''Secret Window'' dramatizes the plight of Mort (Johnny depp), who is suffering from writer's block. This was triggered by the tumultuous break-up of his marriage to Amy (Maria Bello) and the protracted divorce proceedings. Pale and disheveled, Mr. Depp rolls through the film in a wardrobe that looks as if it has been slept in, the kind of believable physical detail that never gets costume designers Oscar nominations because it's far too real. Don’t dress too warm to go see “Secret Window.” It isn’t going to give viewers the chills they are expecting from the trailer. I liked it better the first time I saw it. 

 

3733 - UM BANHO DE VIDA (2018)

Amizade até debaixo d'água

.      UM BANHO DE VIDA (LE GRAND BAIN, Bélgica, França, 2018) – O que mais me chama atenção neste filme é o tema da amizade entre um grupo de homens cujas vidas, em certo momento, perderam o sentido. Não há como não se identificar com a história, especialmente se já experimentamos as perdas existenciais no seu sentido mais profundo. Essas perdas – não se enganem – nunca são recuperadas. Porém, podem ser momentaneamente esquecidas. Joe-Joe tem razão: a trilha eclipsa o filme. A metáfora do nado sincronizado não poderia ser mais perfeita: a amizade em tempos líquidos. What calls my attention in this movie is the friendship among men whose lives, at a certain point, have lost their meaning. We can not help connecting with the script, especially if we have already experienced existencial losses that – don’t fool yourself – can not be recovered. However, they may be temporarily forgotten. Joe-Joe has a point: the soundtrack surpasses the story at so many levels. Netflix.