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An error has ocurred. Please try againCriteria: below ten titles, only counting films and TV films, and with less than two known works (that's why you won't be seeing Heather O'Rourke here, just an example).
Monalisa thief Vincenzo Peruggia (8 October 1881 – 8 October 1925); journalist William Monroe Trotter (April 7, 1872 - April 7, 1934); military Filinto Müller (11 July 1900 - 11 July 1973); painter Nair de Tefé (16 June, 1886 - June 16, 1981); sportswriter Martin Manley (15 August, 1953 – 15 August, 2013); terrorist Yakub Memon (30 July, 1962 – 30 July, 2015); criminal T. Eugene Thompson (August 7, 1927 - August 7, 2015); author Victor Thorn (August 1st, 1962 - August 1st, 2016) and Lula's mother-in-law Vani Terezinha Ferreira (October 28, 1940 - October 28, 2020).
Reviews
A Simple Favor (2018)
A weak "Gone Girl" wannabe
This flew over my radar when it was released and a highly unusual TV trailer got me hooked to see it. That trailer was a disaster of epic proportions
as it advertised "A Simple Favor" as a real suspense without adding the comedy element, or telling about it. Either way, the mix
of genres was a mess, very annoying from the very first minutes with those "perfect" characters, slightly getting better when the mystery sets in.
And that's when red flags come along as this is basically a poor man's "Gone Girl" with more focus on cheap laughs and cheap thrills.
It's a little enjoyable because of the outrageous character played by Blake Lively and her insanely hilarious lines (the repetitive
incest line is hysterical whenever used); her perfect yet also mysterious husband (Henry Golding) was fun to watch, and a couple of the thrills the
woman's disappearance becomes as her new-only best friend (Anna Kendrick) decides to investigate after providing the small favor of the title.
Kendrick's character - and the movie - was painfully annoying, trying to please everybody but always getting some nasty response from the crowd
around her (some deserving, others so crazy and ridiculous as if everybody's was inside of a bad sitcom). And it's a total mystery on why she
wore that ugly scarf while attending Lively's job at a fashion magazine or whatever, much to the displease of Rupert Friend's character.
I'm all against remarks on people's outfits, but she totally deserved his sassy backlash, she could know better before going there.
If being played out as a dramatic thriller I'd certainly be more involved with everything. The switch between laughs and crimes was such a turn-off that I paused for a long time just to catch my breath, as how dull and chaotic this was. As for Paul Feig being the director of this, must say I enjoyed the female "Ghostbusters" rebbot a lot more than this. 5/10.
Against All Odds (1984)
Emotionally involving, highly complex but very rearding
"Against All Odds" is a thrilling, sexy and romantic neo-noir thriller film with all the required elements for a great films. It's also
an engrossing story for those with eyes, time and patience to see, and I must say, it failed with me on a first view. Only two things might get
in the way for its viewers: it's a deep story focused on character development to connects its complex web of mystery, lies, love and murder, and
it demands full attention from viewers to follow its numerous characters and their dialogues; and the other thing is that it's a remake from a classic
film noir, the incredible "Out of the Past" and it's almost impossible to beat that film. To the latter situation is not much of a problem since
it's not an exact remake, but instead it's a rework of its foundations with different situations that couldn't be explored in the 1940's. Two
different movies but they work well on their own, not needing one another for comprehension.
It's about an incendiary love triangle formed by two best friends and a beautiful woman. However, it moves a lot different than the typical
cliche from those settings. It expands beyond love and passion as they're all simply trying to find better ways to live their lives, and a series
of incidents brings them together, sets them apart but you can sense a full collision ahead, unlike the famous car race featured early in the film.
Football star Terry Brogan (Jeff Bridges) is somewhat rescued from a terrible situation with his team and its managers (Richard Widmark and Jane
Greer), when his best pal Jake (James Woods) offers him money to track down his girlfriend (Rachel Ward) who ran away from him. Something's fishy
but he goes to Mexico anyway. After all, it looks an easy job and he needs the money since he's not getting younger and his football days might be
over after suffering an injury. He finds the girl, the beautiful Jessie, and after some initial rebuffal, they fall in love in the idylliac Cozumel
beaches and old pyramids. Sensuality at its greatest in those moments, true passionate heat and everything looks and feels like paradise.
But paradise can't last forever and decisions must be made. It hurts that they have to go back, and by then they already knew so much from
each other, their past and what brought them to such encounter, that audiences root for them very easily. They're perfect for each other as they know
that together they can save themselves from whatever was hurting them up to that point. What gets in the way is Jake and whoever come their way,
and it doesn't take long before a familiar face on Terry's life finds them, tragedy ensues and the plot thickens.
Taylor Hackford's film is fully charged of mystery, twists and turns but it's not completely concerned in keeping up with action and that's
why it's not much popular among audiences. The countless sub-plots revolving Terry's troubled professional life, Jessie's family, Jake's shady
business, and a potential disastrous real estate development, is destined to confuse viewers as it's not told in an ordered film-noir tradition.
But the script connects it all without looking ludicrous or unbelievable. And when the action/suspense bits come along, you're fully invested in
knowing more and solve the charade. "Against All Odds" is more about a doomed love affair and how hearts, lovers and friends can be broken rather
than thrills and body count.
The cast is in complete tune with each other and their roles: Bridges as the conflicted vulnerable hero; Woods is quite restrained and
charms audiences in not being that kind of bad guy he usually plays (he's almost likeable, very humored). But the film depends a lot on Rachel Ward
and audiences embracing her mystery and trusting that only someone like her could spilt two best friends. This is not a case of a typical beautiful
femme fatale seducing with just her looks. It's all about what she challenges on both men, how she reveals her past, the changes she went through
at each certain situation of which we don't see but must imagine. Ward was amazing on those moments.
It was a great revisit to this almost forgotten film and now I can truly consider a classic from the 1980's. Hackford got everything
right, even when it feels dragging on a little. But one thing was truly great on both occasions: the unforgettable theme song by Phil
Collins, one of the greatest cinematic songs ever composed - just a pity he lost the Oscar in that highly competitive year. And it's one of those tunes everybody knows but they never seen this picture. In time they'll get to see it, or come back to it like I did. 10/10.
Ninguém é de Ninguém (2023)
A good film on the deeper roots of jealousy
"Nobody Belongs to Anyone" deals with the themes of obsession, jealousy, the feeling of possession and how those issues can interfere in a
marriage, and how causes of the spiritual world and past lives have a part on the earthly plan. Adapted from Zíbia Gasparetto's novel, the film
follows the precepts of the Spiritism and their views on the matters of life and death, that ultimately is generating a series of good films on the
topic, attracting believers and non-believers. Gladly, it was a decent result with some cliche problems, specially when it comes to similar themed
films and series. It doesn't escape from sentimentality, but it serves enlightning purposes that audiences can reflect upon.
Two couples are tangled in a web of lies, deceit and jealousy that affect their relationship, creating a series of suspicious and danger. Lawyer Gabriela (Carol Castro) is married to contractor Roberto (Danton Mello), a man with trusting issues who controls his wife in a terrible
manner; and when her boss Renato (Rocco Pitanga) promotes her to a partnership position in the lawyer firm things take a wild turn as Roberto
believes she's having an affair with him, a sentiment echoed by Renato's wife Gioconda (Paloma Bernardi), an even more possessive figure than
Gabriela's husband. From that, the suspicious spouses make their plans to separate a couple that doesn't exist, creating hell on their professional
and personal lives. False accusations, rumour spreading and even marital abuse is part of the game, to which Gabriela and Renato don't know how to react.
Like many projects on the topic, it basically tells us that the serious and complicated relationships we have come from a past live, a different
and unknown source to us that might be revealed to us someday. There's suffering until correction of past mistakes come along, living and learning. Soap opera "A Viagem" greatly dealt with that, and most recently "Nada É por Acaso" film as well. It's up to audiences to embrace the karma-like idea,
or reject it. My little skepticism comes from the usual idea of seeing the previous life situation as being 19th century, as if there's a communication
link of 100 years or so, not beyond.
Won't say I was fully involved with it because the cliches and repetition of events were a little too much at times. But there's plenty of
qualities that made it a rewarding experience such as the visual effects during transitional events after tragedy sets in (we are easily reminded
of "Ghost" in those moments); Danton Mello's surprisingly great performance as the possessive husband, a very hateful character; and Rocco is always
enjoyable to watch. I couldn't buy Carol Castro as a lawyer (that hairdo, really), and Paloma was a little over-the-top as the bossy wife, but both hit some good notes
in the more serious moments. Stepan Nercessian's cameo as a private detective brings a little humor to the tense scenario.
Outside of the afterlife department, it's a film that serves a purpose for people analyze their relationships, to be open and honest about
what they want from it all, and what's to avoid when it comes to feelings of jealousy and possession. To reminds us that the "belonging" to one
another is a temporary thing, and if you love somebody set them free. 7/10.
Up the Sandbox (1972)
Up my nerves, more like it
"Up the Sandbox" could be a bigger classic if it had a better development of its ideas while telling the near-crazed ramblings of a neurotic
housewife (Barbra Streisand) who has an emotional breakdown that shelters her from reality, shifting from delusional grandiosity to the real chaos
of dealing with husband (David Selby), kids, a dominating mother (Jane Hoffman), and helpless friends. Irvin Kershner's film doesn't have a fine
balance between comedy and drama, and we depend so much on an unreliable and frustrated lead character that there are times it's difficult to know
what exactly does she want from life and relationships, what's real and what's not. I'd like to imagine what Woody Allen would turn if having the
chance to direct this material (pity he only deals with his own material).
It's not a total mess since there are noble messages intertwined through it all, and there are moments of true brilliance (the exchange
between Barbra and her husband's lover was hilarious as both women accept the fact of one another), wild mayhem (Fidel Castro becoming a female
with a world domination where women rule the world), and pure outrageous fun (her parents anniversary being ruined because she refused to give
the only thing her mother wanted in order to be truly happy).
If the lady's wildest dreams are fun to watch despite some nightmarish bits, the reality of it all is unappealing and nothing gets solved.
The film's idea seems to defend that once a woman gets married her dreams and wishes are inexistent as she needs to accomodate her family before
herself, and to fight such notion are pointless and selfish acts. Her only comfort comes from dreams where she rejects the possibility of having
a third kid, or finding solutions to improve the female cause, or commit a random terrorist attack on the Statue of Liberty. We keep waiting,
with anxious hopes, that one day she'll wake up and finally act, do something different. But at the end of it all, there's no pay-off to her
situation and it's frustrating - sure it can be said it was a realistic portrayal of its period and that audiences of then should know how to
change such scenario.
By itself, I tried to like it but couldn't. If comparing a key scenario, the theme was better presented in "Diary of a Mad Housewife"
(to Kerhsner's film disadvantage, I saw the other film a few days earlier and it stayed in my head). A few points from that film: worst husband, worst kids and the woman's
little relief was having an affair with a careless chauvinist lover. Here, Barbra's dream of another man in her life comes with the presence of a charming
university teacher and even that slight chance of affair is ruined because his date invitation for both was attending the Castro political meeting
where she cried against his revolution. Had not seen "Diary of..." it might impact less the difficulties I had with this one, and it'd become
something manageable.
Fine performances all around, but nothing so outstanding that requires new viewers to it. You won't be missing much, except for the really
funny sequences. 5/10.
The Making of 'Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.' an Errol Morris Film (2000)
Brief moments on the making of "Mr. Death"
A vaguely interesting making of from the documentary directed by Errol Morris on manufacturer/history revisionist Fred A. Leuchter, Jr., the
piece presents great interviews with Mr. Morris, a producer, production designer and a historian related with how they worked on the film, the
fascination they had with the controversial main character; and also some bits from behind the scenes (basically the filming on Auschwitz camp and
also the bizarre Tesla-like machine that opens the film with Leuchter sitting on top of it).
It's all very brief but nonetheless curious to watch as Mr. Morris and the producer discuss about the reasoning for the re-enactments throughout
"Mr. Death" and how such device serves a purpose, and it's something completely different than the filming of a Hollywood film. Doesn't favor much
the director on some competitive awards as it brings fictional elements to it, but he knows all about that (the amazing "The Thin Blue Line" was not
even considered for the Oscars because of that and their rules). But when you see "Dr. Death" it's a unique experience that you barely notice
the re-enactments, it feels as if you're seeing Leuchter collecting materials on Auschwitz (besides his real tapes) or similar.
Essentially it's about talking the ideas of its making, rather than deep analysis from the film (not needed as the thought-provoking topics
it brings are all debated in the film and audiences can make up their own minds with that).
Alyssa Miller: Mystery, Yes (2022)
Very seductive
A seductive clip revolving on the special connection formed by two perfect strangers (singer Alyssa Miller and male model Ash Stymest) who
share a strange but comforting proximity despite being apart on different rooms from a same desert motel at night.
Yes, the mystery of it all that
starts out when they look at each other, as she passes by his lonely figure, a great sense of curiosity of both parts but the true connection
is formed when they hear each other from the other room, they dance on a same rhythm until they finally get together.
The song is a little out of my depth and taste but it was a nice fit to the atmosphere played along, quiet and sexy and it worked in a memorable manner. And here's another great proof that a music video can be sexy and intimate without appealing to a sexual act; it's all about some closeness, the dance and the rhythm. 7/10.
Eric Clapton: Bad Love (1989)
Great moment of Clapton and his trio
"Bad Love" helped Eric Clapton to get out of some obscurity in the 1980's (not exactly a lost decade but close to it, and fans
know it). The same team that helped him with his "August" album in 1986, supported him in the 1990 tour and they all appear in this video
(bass player Nathan East, keyboard player Greg Philiinghanes, and Phil Collins on the drums and backing vocals). A great band for Clapton,
and I prefer them rather than the huge ensembles he formed since then).
A heartfelt kiss of goodbye to bad relationships that didn't add up to anything is carried with Clapton's voice in a strong manner,
with Collins following along in the background. It's emotions at his best, when knowing its time to move on with life. The black-and-white
cinematography makes the group a little obscure for a great portion of it all, but it forms a great visual to them - except for Clapton's
unusual prominent moustache.
Memorable because of its great song. 9/10.
Dionne Warwick Feat. Gladys Knight, Elton John and Stevie Wonder: That's What Friends Are For (1985)
Great vibes all around
Dionne Warwick and friends Elton John, Gladys Knight and Stevie Wonder joined forces to perform a lovely ballad whose proceedings
were donated for the cause of AIDS and its research for a cure, back in those tragic days of the epidemic. Excellent noble gesture as
it was one of the first times (if not the very first) that artists were pledging for the AIDS cause, attracted a lot of media attention and
the presence of other celebrities, and many foundations were created for the cause (Elton made his one in 1990). And to think that if
discrimination on AIDS victims was rampant and that someone didn't care who they were, the artists made their point by showing that
there's also those who care and will find ways to help you out. And that's what are friends are for.
The curious bit about this particular song, composed by Burt Bacharach and Carole Bayer Singer, is that is a cover and far more
known than the original version performed by Rod Stewart, used in the closing credits of the comedy "Night Shift". Four magnificent
voices, new arrangements (that fit mostly with what Dionne and Stevie were doing in that decade), and a classic was made. They look happy,
cheerful and transmit those good feelings in a spectacular and memorable manner - "USA for Africa: We Are the World" goes that route too, but hearing
about some of its behind the scenes stories just make things look a little phony (but I like it just as much, both for its song and intentions).
If I'm not mistaken, the song spawned other versions and also used for charities, but I don't think they found that quality
performers as those in here. Still glad that it's still be used for good causes. More than that, it's the kind of special song you pay
tribute to someone you like. It's in such positive vibes that for the moment you hear it, nothing goes wrong. Always good to hear it. 10/10.
Bleu de Chanel (2024)
Timmy + Marty = Amazing combo
And the ad is finally out, a year later from the countless behind the scenes (leaked and official) pics of Timothée Chalamet and
Martin Scorsese working on the long awaited Chanel ad, as Timmy was chosen as the new ambassador for the brand. It's so strange to
say that a commerical was awaited but in fact a large gathering of people was waiting to see the final result of such amazing encounter
of Hollywood names working together on screen (pity is not a feature film, but hopefully they'll might find time to work again).
Back in December, there was a leak of the short but no word from anyone if that was the real deal. Now that is out I can only attest how
magical and brilliant everything was, and again, it was worth waiting.
Here we follow the concept of a busy day in the life of a famous celebrity (Chalamet) from the moment he wakes up on his New York
condo, later on
dealing with showbiz people, and late night hosts to promote his new project. But in the rush of everything there's always the sensation
of something missing in his life, but he is helped by a mysterious female figure (Havana Rose Liu), representing the fragance, the non
conquered dream and the only color amidst the monochrome of everything. He doesn't know what it is, but he's easily seduced by the mystery
and goes after it.
It's not necessarily a ground-breaking idea since many brands from countless fields try to do such schemes, sometimes succeeding,
others times not so much. This one goes beyond anything, lately, as we have a master in control of everything and not a single second
was wasted. Not only Scorsese is a phenomenal filmmaker but also has contributed a lot with advertising campaigns, even directing another face
of the brand, the late Gaspard Ulliel. Rhythm, style, the frantic velocity of his cameras, editing and effects capturing the rush of the city he and Chalamet
lives, the soundtrack (awesome way to bring back Herbie Hancock's "Rockit" to a new generation), it all impacts you in such a manner that
you forget everything. The attention devoted is on the ad and everything about it.
And obviously that Chanel couldn't have picked a better
presence to their fragrance than Timothée, not just the physicality he brings but also the acting, the humor (very brief bits shown) and
how he knows how to make fun of himself or make fun on celebrity culture (just see his ads for Apple, they're hilarious). And seeing once
was not enough, head was spinning for a while. Thumbs way up for this one, anxiety issues fixed except for when they're gonna make another
one of those, or a film together. 10/10.
Chanel Fall-Winter 2024/25 Ready-To-Wear Show - a Cinematic Story - Chanel Shows (2024)
Dazzling
The fascinating glamour of the world of fashion and all that millions of dollars can buy brings together Penélope Cruz and Brad Pitt as stars of this
new season of Chanel that pays tribute to Claude Lelouch's classic "Un Homme et Une Femme" ("A Man and a Woman"), the 1966 Oscar winning film. It doesn't
hit the same ideas or shot compositions from the film but it gets close to its atmosphere of a loving couple having a special time together (here, Pitt and
Cruz are having dinner on a fancy restaurant, but their talks gets interrupted by a female waiter).
The brand becomes far behind here as the stars are what captures the audiences attention, their looks, their presence and their exchanges. Greatly filmed
and edited too. I liked this one but it didn't stay in my head afterwards,
not even brought back the memories of a classic film I love - but it certainly found a way to bring new audiences for it. I like to think that. 9/10.
Marlhy: R.I.P. (2020)
Very dead, indeed
Only got word of this video as it was listed as one of model Ash Stymest credits, and sadly he's barely there. Here's a complete waste of anything,
really, but specially of his looks and presence. Not his fault, obviously. But I wonder what was he doing there in the "story"? Marlhy plays a young
woman wearing a Wonder Woman outfit while cleaning up her kitchen and singing about the farewell's one gives after living a bad relationship. Ash appears
for a couple of seconds, ridiculously brief shots where it's hard to tell if he's the ex-boyfriend or the garbage man who came to pick up the trash. Boring!
I don't know who's the singer and couldn't possibly care less about the song, that has some good bites with the lyrics but it's hardly something I'd
listen. If developing a career on the field, some notes she should've learn while making a music video (if I'm not mistaken the idea of it all was hers
as well). The notes, tips: when hiring a model, famous or not, give him something to do or also something you'd like to imagine doing with him: seduction,
dancing, acting bits, and also some proper time of appearance. Don't need exactly to "perform" sexual acts but find ways to tease the audience, seduce and
destroy. Look what Madonna and Brittany conquered with their male models - ok, different level of star power since they revealed their men to the world rather
than having someone already established in the fashion scene. But still. Poor dude was non existent and it's a shame, as the other videos he'd appeared
he was better used.
But the girl looks pretty fine in her costume. I get the idea of it all, the power withing herself in others after a series of dull affairs or
lame relationships. It serves the song's purpose. The presentation of it all looked cheaper than a B movie. 4/10.
Roxy Music: Angel Eyes (1979)
Lovely song, some nice visual style
This one doesn't offer much except for the song, which is one of Roxy's best but it's the single edit rather than the disco version
(nearly 7 minutes of pure ecstasy).
Music video in its infancy so it's basically a capture of Bryan Ferry and group performing "Angel Eyes"
along with two female harp players appearing to be angels, wearing outfits that give the appearance of being undressed.
Bright colors,
vivid and expressive moments, the several zoom-in's on the band members at specific parts, Ferry dominating the scene, it all contributes to
the enjoyment of their act, all greatly edited. Had it been made in the 1980's music video fever it'd probably include lots of female models
to reflect the general picture of the song, idea that could work better or don't. 8/10.
INXS: Beautiful Girl (1993)
A unique expansion of the song
The unique approach used for this music video and the single used as background is amazing, intriguing and way ahead of its time
when it comes to discussing issues that were only perceived and faced by one group: women. "Beautiful Girl" by INXS tells us one story of a runaway girl who finds some comfort with a perfect stranger (many might see other things on that lyrics); its images reflected on that video is
something else.
A full discourse on the pressures and challenges faced by young girls and women in order to present themselves as beautiful, shown through
several words popping out on the screen (descriptions, qualities, good and bad things), and images from women either close-up shots of their
faces, others eating junk food, and a fashion show at the end that goes in a dark, critical manner. The group appears in a very reduced manner,
through little colorful effects and editing tricks that makes them very obscure on scene.
The clip certainly serves a debate on the outside issues
and the inner issues women (and men too) face while presenting the image of themselves, the choices made between being personally satisfied with
such image or just attending society's perception of what's beautiful or not, to stay healthy or just consume what one wants, or the sacrifices
in between, as we're bombared by media ideals of perfection. One choice and one renounce, that's life says a song, and a balance while trying the best of both worlds feels like an impossible
goal to achieve.
But it also views a colorful and hopeful embrace of positivity, self-acceptance, and that the real version of you is acceptable, interesting
and worthy. It feels that way when all the women are united after the fashion show. Obviously that
today we'd have a more variety of body sizes, ethnicities, but the little showed there finds its way to spread its intent that they're all beautiful to someone's eye. The "stay with me"
phrasing from Michael Hutchence and his voice brings that closeness and acceptance, even though the lyrics tell a different story. And do I need
to tell that this is one of my favorite INXS songs? Well, I just love it. 9/10.
Tudo Bem (2020)
Finding love and hope for better days during pandemic
A simple and cute view on forming significant relationships during the Covid pandemic. It's the encounter of a young intern (Daniel
Rangel) with a female student (Heslaine Vieira) before the "new normal" sets in, but he tries to find her during the social isolation period,
despite not knowing her name.
"Tudo Bem" touched with relevance the ideas of how lost and confused social connections were during the period, many online meetings,
people trying to find what to do to keep themselves busy or entertained, but also missing gestures, touches, close talks rather than the
already and exclusive internet interactions. Would there still be a world after the disease and many deaths? Would we find some meaningful
relationships during or after everything? Those kind of notions many have felt at the time, and the film was made and release during the
peak of everything, it's not a mere retelling of the early 2020's.
Main couple has some fine chemistry, some nice conversations - specially their very first meeting discussing the films they seen. But
the presentation of it all makes it a quite confusing piece with a late flashback (which answers the random initial encounter), and the
otburst from the girl, while relevant to the narrative, doesn't convince even if done with a particular strange person that you have a small
intimacy. It felt aggressive and a total turn off (if there's people who try to attract a special someone, and goes with such mode, and have
no problem with that, I wonder how they succeed).
It's a honest piece, greatly made though it's not something I'd watch again so soon as the memories of that slowed period still linger
on in a tragic manner. Yet it's final message addressed at the end about how valid is okay to not be okay, among other feelings many of us
felt at the time, are of great value. 6/10.
Fleetwood Mac: Hold Me (1981)
A desert full of wonders and Fleetwood Mac
"Hold Me" gives us Fleetwood Mac playing explorers on the Mojave Desert, California, either trying to find treasures or find themselves
as they deal with some mirage-like effects told in a very artistic manner through shattered mirrors, guitars on the sand, and a tribute to Rene
Magritte's famous man in the bowler hat. And obvious that Lindsey Buckingham and Christine McVie perform the song in a series of close-up shots.
It's all surreal, mysterious and fun to watch. The idea of the art elements, always seen through the distance, works with the notion of such
characters (band members) trying to hold whatever they're seeing but they know they can't as it's all a mirage (though it's not played in the
typical Hollywood fashion, it's more like a collage of elements where you can use such idea of a fata morgana). And the song that goes with it it's
one of their greatest musical moments, pretty close to their "Rumours" days, great quality and style. 9/10.
Golpe de 64: a Procissão Está nas Ruas (2000)
A small and didatic project on the '64 coup
When you see countless documentaries on the military coup of '64 in Brazil there isn't much of new things to discover, except for
a few facts here and there. The usual faces and names who lived the period and acted on both sides (right and left) are shown here, they
provide nice interviews but for those who read about the topic or had seen other projects they won't find much enlightnement with it. The
main attraction is the fact that one of the film directors was actor Guilherme Fontes, and he composed the piece in between the making of
his infamous long delayed biopic "Chatô" (filmed from 1996 and onwards, but released in 2015).
Marcello Antony is the host/narrator of the episode - I think this belong to a series related to Brazil history, as shown some evidence
of that on the video I watched, but I don't know what are the other entries in the series. A curious device used along with the archive footage
covering the coup d'etat origins and the surviving key witnesses, is the presence of two fictional radio hosts (Ana Borges and Augusto Xavier)
talking about cultural and social events from the period - a memorable moment is when they discuss the upcoming release of "controversial" Italian
film "Yesterday, Today and Tomorrow" and the talk of nudity from the film (if only that generation knew how tame it was compared to what came
later on, specially since they compare with Ruy Guerra's "Os Cafajestes"). Those brief recreations from the period were fun to watch.
The factual stories weren't so news to me and didn't attracted me all that much, though it makes a very summarized presentation going from
the final days of the chaotic Jânio Quadros administration and the nation under control of Jango, another tumultous period with society marching on the streets, both to support his politics and others to get him removed from office, critical of his socialist projects. Journalist Marcos Sá
Correa and his interview on American ambassador Lincoln Gordon (the main responsible for getting the coup being sponsored by the U. S.) is very
insightful.
A fine short documentary, very didatic in its format and very easy to follow. It's the kind of things one can easily show in schools
without problems. 6/10.
Let Them All Talk (2020)
The ship stole the show from the cast
"Let Them All Talk" has a great asset besides its amazing stellar cast formed by Meryl Streep, Dianne Wiest, Candice Bergen, Gemma
Chan and Lucas Hedges, and director Steven Soderbergh ("Traffic", "Contagion"): the ship Queen Mary 2, where the majority of its "story"
takes place as a conflicted writer (Streep) gathers her two longtime best friends (Bergen and Wiest) and young nephew (Hedges) as she tries to
come up with a new awaited book, and to go to England to attend an award event. When I say that the marvellous ship is a major asset is not a
light statement as the story is built around it, inside the real thing with the actors mixed with real passengers on a long cruise. This is
a unique case where you actually feel part of the experience on board of Queen Mary 2 rather than a set constructed for a movie.
With the forementioned names attached one goes in a rush to buy the popcorn and everything. Turn it down because this voyage of a film is
a little damned, doesn't offer much for a long while and only gets mildly interesting when the crisis from the characters becomes deeper. But
until you get there it's a series of cliched formulas on best seller novellists and how they use their surroundings to compose their novels, and
how those close people can feel betrayed rather than honored with fictional retellings of their lives. It's not the end of the world but you may
get a little seasick.
Deborah Eisenberg screenplay might
have some punch-ups that sound humorous but aren't, and in fact, the actors were all given free reign to compose their lines and characters.
It's an excellent exercise for actors, they love the experience as it allows them to be more creative with the film process, almost as if
being on stage. The films made by Mike Leigh are exactly like that as he gives some background and a key scenario, and the rest is up to
actors to come up with, and later on Leigh accepts the ideas and puts into the final screenplay. Think about "Secrets and Lies", "Happy-Go-Lucky"
or "Another Year" (if you had the chance to see those or any of Leigh films). His films work brilliantly; "Let Them All Talk" doesn't.
It's not
because it's spectacular bad or anything like it. It simply fails to convince for the most part, with many little mysteries inside itself and a
humor that does not come out strong or clever. But the drama, some of it, hits some strong notes without being too emotional. The cast is well tuned, with
some problematic bits but they're charming together even though they spend most of the time apart from each other, as the three friends avoid
one another as the Streep character has a busy working schedule and isn't there to enjoy the presence of others. There are a few themes that worked
in a fine way, such as Hedges character wish to understand how older generations had a more natural connection with each other as opposed to
the internet generations and their virtual relationships.
But the ocean liner was a real treat to see and Mr. Soderbergh surely knew how to film everything with a particular style that allows
us see everything, with care and detail. Pity that I can't thumbs up a movie over just this element, otherwise this and "Speed 2: Cruise Control"
would rank high on my esteem. 5/10.
Dormir De Olhos Abertos (2024)
Lost in almost everything
That notion of "If you don't know where you're going, any road will take you there" might work in real life, but when it comes to
movies it doesn't work all that greatly. Amazingly confusing, lost in itself and without almost nothing to show, this film end up being a
huge let down as it has as one of its producers the great Brazilian filmmaker Kléber Mendonça Filho ("Aquarius", "Bacurau"), with a story
filmed in his beloved Recife, and a huge and rare opportunity was missed as this production is a worldy one (Brazil, Argentina, Germany),
and when cinema of the world gets connected you can always expect something unique on the screen. Not this time, though.
"Sleep with Your Eyes Open" seems to follow such idea of lost directions, as the lead character becomes a unusual kind
of citizen of the world where she doesn't have, neither feel, the benefits of travelling around different nations. Kai (Liao Kai Ro) is a
Taiwanese girl who moves from Taiwan to Argentina and later to Brazil where she goes to spend a holiday
with an aunt that conducts a business revolving the exploitation of Chinese illegal immigrants. She doesn't speak Portuguese, but manages
to get acquainted with a shop vendor (Wang Shin-Hong), who disappears while tracking down who stole his phone; the friendly Leo (Nahuel Pérez
Biscayart, from the amazing "120 BPM") who works for her aunt along with the other Chinese men, all living crammed inside of a lux apartment.
In between their routine of work, some arrivals and departures, Kim writes her thoughts and feelings on postcards that are destined
to the missing vendor (or maybe to some family member in Taiwan or Argentina) but she never sends them. She keeps them as a journal, reflecting
on how she doesn't understand Brazilian people, their food and culture, the usual cultural clashes one has while living abroad. Must say I didn't
like those moments, but they didn't angered me as it could - it's just boring talks and not once there's a word of praise for anything
(but I think she liked to drink caipirinha).
Anyway, there's no story here. It's a series of confusing, jumpy sequences where she connects with her own kind, they all dislike their
situation (the men for obvious reasons, as they are exploited and keep on dreaming on moving back to China or Taiwan), and there's never a
moment where you can say that Kim is enjoying her vacation or whatever she came to do in Brazil. Her aunt is barely there, yet she's the one
who runs everything, since her husband is sick. And the characters are so stranded in their own pitiful reality that when loads of money
fly out from an upper apartment, they don't run away to get it.
Was there any relevant thing to show or say about illegal immigrants? Not really. The junction of such real scenario with a person
travelling alone, trying to find some meaning to life, didn't work. The series of unusual events, some explained and others not so much, is
a recurring thing on many art films lately, and here it was just weird to watch. They weren't funny, neither dramatically interesting. It was
mostly annoying, cryptic and weren't worthy of reflection.
It might had work better if it had a sense of direction, some coherence in its
storytelling where audiences could connect with something, make them feel something rather than a neutral state of mind that doesn't go
nowhere. And there's so many real elements to it that could be worked that in the end it was a wasted opportunity. Leo character, for instance.
The only character I was invested and curious with, yet he was too brief on scene (hated the godawful bleached hair they gave to Biscayart). Like Kim, he
doesn't belong there, but he knows where to go and how to act.
This was lost on me, despite some enjoyable moments here and there. It was mostly erratic. 4/10.
Sunshine Cleaning (2008)
Saved by the charm of its cast
Two down on their luck sisters (Amy Adams and Emily Blunt) try to change their lives by working on the profitable business of
cleaning crime/death scenes. "Sunshine Cleaning", by all means, is a comedy despite the unusual idea of two girls cleaning up blood, puke,
and other body fluids. Yet despite the bizarre premisse, it doesn't take some dark corners to become a dark comedy with thrills and violence,
and instead goes for a life examination of family relations and how they try to help each other on critical times.
And perhaps because of such
turn I didn't like it as much as I hoped for, as you put together two great actresses in a comedy with some weird aspect, one easily expects
something with thrills and huge nervous laughters, and not exactly a story that gets depressive as it moves to a past tragedy their characters
dealt. A fine picture thanks to the charm of its cast (Alan Arkin, Steve Zahn, Clifton Collins Jr., Mary Lynn Rajskub and Paul Dooley); the funny
bits that are actually funny; the character development is also strong; and some special moments that makes of a little film an unforgettable
experience (in a very great way).
It's not just the unused dark/creep aspect that failed to impress, as it could easily become a scenario of clueless girls becoming the
target of competitors on the field (and the film plays a little with that, with Clifton's business partner), or maybe make one of them become
involved in such dramatic scenario. It's a case where there's so many situations revolving them that it becomes exhaustive to care about
everything.
Take Adams character. Single mom with a kid (Jason Spevack) facing behavorial issues, and that gets him thrown out of school and she
quits her job as a typical cleaning lady after knowing from her lover (Zahn), a police officer, that cleaning crime scenes pays better. She and
Emily go to such business, totally unprepared but they work hard and the money comes. With money, the idea was supposed to sent the kid to a
proper school that could fit with the kid special needs. But what happens during the film's course? He never goes to any school and spends
his time with his grandfather (Arkin), and always annoys everybody. Add to Adams the lover scenario, a married man who won't quit his charmed life
with wife and kids; and her dreams of becoming a real estate agent; and deal with those unhappy accidents of life when you meet old school
friends and see how their lives improved and yours didn't. The latter part is a tiring cliche that movies keep shoving down our throats for
ages, and it does not happen (unless those reunion movies or smalltown stories, those are easy to believe).
I won't go with the Emily Blunt character cause there isn't much going on except that she fails each job she has, and helping her
sister might not look a good idea at all, plus traumas from the past come to haunt her, and she develops an obsession with another woman
(Rajskub), relative of a deceased person whose home she attended. By the time, we find that she has a boyfriend is totally out of the blue
and random (Eric Christian Olsen plays him, obviously deleted from the film so he has two scenes only).
"Sunshine Cleaning" problem that almost kills everything is the excessive ammount of situations and problems the duo faces through the
film, and it slowly becomes less funny and more depressive, and it's almost as if the laughter from it all come from cleaning blood or
whatever from dirty, smelly houses, or the jokes where the kid is called a bastard.
But I was conquered with the film. A cast in complete tune with each other, and maybe it's 'hopeful for better days' theme also conquered
me a big deal. As when you're in a bad scenario, one must find ways to improvise a way out, specially when it comes to provide for a family
and work on fields you don't like.
And if there's a scene I like to remember the most is a lovely connection the sisters share when watching
a bit part from her mother in a TV movie that they never seen before but knew she was in. Many film writers dream of writing something like that moment, that reveals not only the essence of
movies on people's lives and how audiences can relate with it during times of their lives. A powerful and a cute scene, and if the film swings a lot and you may want to give it up, just
watch that moment. 7/10.
Garota de Ipanema (1967)
A nice coming of age story
The famous Bossa Nova song "The Girl from Ipanema" is transported to the screen by Cinema Novo legends Leon Hirszman, Eduardo Coutinho and
Glauber Rocha (the latter two as screenwriters) who made a coming of age film that follows the lyrics from Vinicius de Moraes and Tom Jobim. It's
bittersweet just like adolescence is when transitioning to adulthood, and like its known lyrics it has a great visual. Appeal when you look at youth
but at a closer look there's sadness and some hurt. The outside beautiful view doesn't match with the inside of struggle and search for
identity - this notion serves for the girl and the movie itself. It's a fine picture but a little challenging on the less attentive viewer.
The title girl is Márcia (Márcia Rodrigues), a middle-class, 17-year-old beauty who likes parties, going to the beach and live an almost
idyllic life. She is admired by everyone from family and friends and, obviously, men of all ages and that's where the little story it has to
show goes for, as she's torn apart between an aphatetic boyfriend (Arduíno Colassanti) and an older married man (Adriano Reys). Yet, it's not
the usual routine of a love scenario, it's more a case of self discovery, attraction and at times the wish of enjoying life and being alone
in between parties and events. It's a very progressive film, for its period, at the time going through many revolutions, wars and sexual
freedom against a conservative background still following its course and conventions.
Besides Márcia, the other main attraction of it comes from the musical scene of its period, with many Bossa Nova, samba and other genres,
with many guest stars playing themselves such as Chico Buarque, Ronnie Von, Vinicius de Moraes; artists and writers like Ziraldo, Fernando
Sabino, director Arnaldo Jabor have cameos; almost as a dream view of Rio cultural society of the period where this girl lives on full
plenitude. It's nice to see something from Cinema Novo that goes for a little change rather than the constant social/political criticisms
(always better films, but there's also progress and criticisms of that youth as well in this film).
Hirszman's made of "The Girl from Ipanema" a film critically divided between a sort of commercial summer movie and an existential drama
that gets softened with the sound of Bossa Nova. It's a little hard to really feel its soul or connect with everything or everyone due to its
jumpy presentation, almost as if channeling Godard but without the politics. It could be viewed as "Masculine-Feminine" but from a female
perspective: both films deal with the differences between men and women, the social/cultural background of 1960's from their respective countries, and the sense of
always looking for something out there, something deeper and meaningful to life. When the relationship between Márcia and the photographer
is formed, it gets a more intellectual tone that previously presented, and it's there one can find a connection with the intimate desires
from the girl, her detachment from everything, and it's there the film finds its heart. There's love going on but there's always something on
the way. If her summer with the boyfriend is boring to watch (except for the artists who come and go, and she gets fascinated with Chico Buarque),
her exchanges with the older man are great to watch (though many will complain about their first meeting, totally reprehensible acts).
I liked the film though it's Hirszman's weakest. For a moment it had everything to fail, but as it went on it got something to show,
a relevant discourse for its period and even today, as we look back and see how much has changed when it comes to relationships, love and
desire, and how one can express their feelings. Trying, failing, and later, If given the chance, succeeding. 6/10.
Acoustic Signatures: The Sound Design of 'Arrival' (2017)
Making the unique sounds of "Arrival"
I remember the 2017's Oscars (and who could forget after the "Moonlight" envelope incident?) when sound editor Sylvain Bellemare was announced as
winner for his work in "Arrival" and thinking why such an odd selection as I remembered that film as being quite silent. The change of perception came
after rewatching the film; seeing this special; and also the current trend of what the Academy is choosing for Best Sound winners (now only one category
instead of mixing and editing categories). The trend is going for the minimalist use where the sound is no longer about just new techniques but mostly about how
it can tell a story and how it important is its use or non-use ("Sound of Metal", "Zone of Interest" are some recent examples).
Bellemare and others share the concept behind the aliens sounds, the creation of them, and how the creatures have a particular sound design
that it's unlike any other sci-fi created up until then where's usually used effects on words, monstrous sounds. There's also room for discussion
on other sounds used, such as the dialogues revolving on computers, skype and phones. It's an interesting material for
anyone who has an interest on working with movie sounds or have a great curiosity about Denis Villeneuve's film and that particular aspect of the
film. 8/10.
The Razor's Edge (1984)
A lukewarm adaptation of Maugham's classic novel
"The Razor's Edge" is a story about loss, gain and a man's soulful search for enlightning and the truth and beauty of life during the early
days of the 20th century. It's the story of Larry Darell (Bill Murray, trying some dramatic chops for the first time), a WWI veteran who after a
traumatic event decides to abandon a future marriage with a wealthy girl (Catherine Hicks) and a potential lucrative job working with his best
mate (James Keach) in order to find a meaning to his life. He ventures around the world, working on hard labors, and also gets some valuable lessons
on the mountains of Tibet. But he always keep coming back to his friends, ex-girlfriend and falls in love with Sophie (Theresa Russell), a problematic
drunk with a tragic past, but someone whom Larry had some feelings before their difficult lives.
The treatment given to
the classic novel by W. Somerset Maugham didn't translate all that well in this particular version (the 1946 film is amazing, and much to my surprise,
very faithful) as it goes for excessive melodrama and a sense of humor that shouldn't been there at all. John Byrum's film, co-written with Murray,
knows how to connect audiences with Larry as he is charming, eloquent and there's an almost innocence to this apparently lost man who needs to find
some life significance after surviving the brutality of war and later on dealing with a prospect life like any other man had in the roaring twenties:
a tedious job that pays, wife and kids, the guiding book of an apparent successful life. He wants more, though doesn't know exactly what it is but
he keeps on trying, maybe he'll get "it" some day. The problem of Murray's Larry is the clownish acts, as if trying to conquer the viewer and not the
characters he's interacting with.
But like many other films with such powerful themes, it's one of the cases where audiences either get the ideas of it all, with some
form of embracing what it's trying to show or connect with its spiritual themes, or it's a total rejection of everything. I liked it, but it's
one of those cases where I had to "brace myself for impact" as there are problems with the acting and the story presentation which condensates a lot
of things (Maugham's character is inexistent and most of his moments were given to Larry), and added a few things that should be left for the viewer
to imagine (the war battleground). But annoys the most are the girls in Larry's life, as the little charm they should have is non-existent and their
acting didn't help. Denholm Elliott is always a class act to watch, and his Elliott Templeton is a little amusing to watch (I'd
like to see Murray playing this character on a remake, he'd be perfect).
The book was a pleasure to read and it's a nice suggestion to anyone who couldn't understand the film. It's an okay film despite its complications.
It treated fairly with the existentialism of its leading character opposed with the other characters and their little lives. The glamourous art-direction,
the great use of locations as opposed with the fabricated soundstages of 1946 version are all splendourous, alligned with the over-the-top and slightly
effective score by Jack Nitzsche, one rally feels as if living between 1910's and 1930's. There's great values to show, learn and maybe live by but one
can easily feel that there's something missing, some complexity that could be better developed. 6/10.
The Escape (2017)
The existential challenges of life
Existentialism and sci-fi at its best; pity it's only a short film - but a great one when it comes to its reflections. In "The Escape", a middle-aged
man (Julian Sands) is offered by a mysterious man (Art Malik) the chance of getting whatever he desires. Whatever comes to mind or heart and he can achieve
it but it comes with a price: he must give everything he owns and another more significant "payment" that I don't wanna disclose, gonna leave that
mystery in the air since it's way too reflective and when audiences hear about that other thing, they'll find something new, intriguing and worthy
of debate if you'd trade that in order to get everything you want.
Lambert (Sands character) begins to reflect of what he has to leave behind besides possessions: he's a married man going through some crisis
with his wife (Olivia Williams), a young daughter going to college and a young son, who like him, wants to avoid responsabilities, and there's
some work crisis as well. Obviously that he wants a way out of the complexities and obstacles of modern day life, get detached from everything and
everyone and disappear to a dream life, or dream world, whatever that means. At times, we are like Lambert but to what cost we could buy a new reality, if ever possible.
Many mysteries in the air, little solutions and it's up to each viewer reflect on what's shown and reflect on what one would do if given such
possibility. It's nice that we don't know exactly what Lambert wanted as we can put ourselves in his shoes and figure out some great escape from whatever
we want to avoid in order to feel fulfilled (call it X and that's where the man was sent). The audiences who likes challenges, questions and almost to none answers
will greatly satisfied with everything presented, and the performances by the cast as well (Malik was my favorite, he steals the show as the "seller of
a better future"). And if there's a wish I could make, it would be for a feature film of this story as there are countless of possibilities to be
explored, the drama of it all is poignant and the sci-fi elements are intelligent without explaining too much. 9/10.
Phil Collins: Both Sides of the Story (1993)
Another fine moment for the duo Collins & Yukich
Another successful partnership between Phil Collins and director James Yukich, the video for "Both Sides of the Story" offers a curious view of
elements and scenarios that follows the exact things and scenes as expressed by Collins song. Between his performance behind a dark set, Collins appears
on the background of situations such as a couple arguing due to an infidelity as their children watch everything; a man being robbed on the street;
and there's also a civil war scenario; the lyrics capture all of that while reflecting that to any conflict and any situation there's a side to all
parts, and we try to find the reasoning behind crimes, discussions, wars, disagreements and urban violence.
It's a song that I wasn't much familiar with, and I got acquainted with it after finding out that a portion of the lyrics was taken from
Lawrence Kasdan's "Grand Canyon" (a movie that I love to death) - it's a near verbatim quotation of the thief about having a gun and the respect he
gets with it. I simply love it when musicians get inspiration from the movies, either with a line, a description and in this case it truly works with
effect while the robbery scenario is presented by having many robbers and many victims playing on the same scenario, created with a spin of the camera
which changes their faces - great editing here.
Great song and video, though the latter isn't so much of a memorable experience if compared to many others done by the duo Collins/Yukich. 8/10.
A Tour of the Inferno: Revisiting 'Platoon' (2001)
A great revisit to a classic war film
If there's a movie that truly deserves a revisit now and then "Platoon" is such a movie. In fact, it's thanks to that film that I always
find some time to rewatch movies that failed to appeal to me on first view. I admit it, I couldn't stand it for a brief period as it stayed on what I
call "movie jail" (It stayed there for four years, then I got a rewatch and I loved it). I've been rewatching
now and again and its message resonates deeper as each view and each year goes by, now added with this making of interviewing Oliver Stone, Willem Dafoe,
Charlie Sheen, Tom Berenger and others sharing their stories about the filming and how it basically launched their careers.
A pretty good special that contains all the needed elements for that kind of material, proving all the making of stories that one reads on
trivia section of the film; the arrival of cast and crew in Philippines exactly when Imelda Marcos regime was deposed; the intense boot camp training
that made the actors feel what it's like to be a soldier on combat; the usual stuff in between humored talks. The surprises come from Stone's memories
and comparison with his personal experiences on Vietnam; and a meeting with Vietnam veterans where he previewed a rough cut of the movie, a meeting
arranged by his technical advisor/actor Captain Dale Dye.
It's great to watch, as it's one of the best specials of its kind that I ever seen, but there isn't much behind the scenes footage - another documentary was made
years later after this one that contains that (to be seen) and most of what's shown are archive footage from the Vietnam War period (a less experienced
viewer might confuse as it being taken from "Platoon"; and the soundtrack was way too loud during interviews and that hurt a couple of
interviews.
The special provides many great insights on one the most acclaimed films of all time and fans of the movie will have a delightful and memorable
time with it. 9/10.