bernardoarquivo Reviews

Aeschylus' Oresteia (Tony Harrison Adaptation), the National Theatre (1983)

This version will have to do

[6/10 · 28 October 2020]

Aeschylus' plays are difficult to stage and even more difficult to watch. The theatrical form had not yet undergone the modernization undertaken by Sophocles (and others whose work has been lost to time). Monologues and the chorus interaction were way too long and slow. Even so, the plot of the Oresteia is so fascinating that we cannot help but pay attention and even enjoy that ancient, archaic and raw poetry, which only reaches us after having a great part of its lyricism and its sound pruned by the translation, no matter how good it is.

Peter Hall's Oresteia at Epidaurus is heroic. It takes a lot of courage to peel off a literary monument like the Orestes trilogy. And he did it using historically faithful methods, such as clean and minimalist scenography, the use of masks and men in female roles. As for the first two, the effect is curious without being essential; the text is so powerful that it works in an empty setting as it would in grandiose settings. As for masks, I wish they were only for the chorus and not the lead actors, but they do lend an aura of antiquity and authenticity that may or may not enhance the understanding of the poetry and drama.

In the case of men playing female roles, I don't get what the advantage might be. It is a crude and primitive resource that in no way improves the performance, besides being a sad reminder of a time when women had no right to step on a stage. Furthermore, it is simply unpleasant to see extraordinary roles, such as Clytemnestra, Cassandra and Athena being played with male voices. It's weird and there is no catharsis.

This Oresteia is good in the sense that it's unique. The few other existing versions that we could compare this one to (especially the 1979 version directed by Bill Hays with a stellar cast) are virtually impossible to find, so this Youtube copy will have to do.

Sound! Euphonium the Movie - Our Promise: A Brand New Day (2019)

Good, but disappointing

[7/10 · 2 July 2020]

After the series ended, "Rizu to aoi tori" was released, which focuses on the relationship between Nozomi and Mizore in the second year. The film details a minor episode contained in "Gekijoban Hibike! Euphonium: Chikai in the Finale". The senior students left; Kumiko, Katou and Midori are now sophomores, they take care of the freshmen and everyone is preparing for another attempt at the national competition.

Although the essence is the same and the film is pleasant, I believe some decisions by the screenwriter are frustrating and damped everyone's expectation. Kumiko and Reina, as close together or more than Nozomi and Mizore, spend this film entirely distant, while a dumb and fake possibility of romance (which thank God doesn't happen) arises between Kumiko and Shuichi.

Too much importance is given to the character Kanade, although Mirei is more fun and has more resources to be used in the plot. The lovely Katou again doesn't make the final cut, which causes the most horrible anti-climax. The same can be said about the defeat of the girls. Pretty much everything goes wrong in this movie.

The best moment is the quick appearance of possibly the best character in the whole series: Asuka-san, who shows up with Haruka and Kaori to watch the girls on the day of the competition.

There will be a third picture. Let's wait.

Kiraware Matsuko no isshô (2006)

Well-crafted storytelling but corny and flawed storyline

[5/10 · 19 April 2020]

Matsuko is always looking for her father's love but feels that he dedicates all his attention to Kumi, the ill daughter. As a result, she will spend the rest of her life looking for love in the wrong places. At the school where she works, she gets fired for trying to protect a student who stole money. She leaves her family and flees the city. For the next thirty years, Matsuko will do nothing but always choose what is worst for her. Humiliating jobs and countless abusive and vioent men who beat her and she forgives them.

The whole story is a melodrama that tries to make us feel sorry for Matsuko, but I couldn't. She's just too stupid. It's one thing to have problems of parental rejection, and another to make the same idiotic mistake two hundred times, even when fate offers her a second chance over and over again. Matsuko rejects good friends, rejects her sweet and loving sister and basically rejects everyone who can do her some good. This kind of corny storyline works well on daytime TV soap operas. In the film, it's a major flaw.

Kiraware Matsuko no isshô is excellent in terms of direction, casting and production. Very well-crafted storytelling. But fails miserably on the story itself, which is shallow and daft. Good example of it is the final scene, very cute and colorful, as well as dumb and empty, where Matsuko meets her sister in heaven and does what she could have done a dozen times while both were alive.

Koufuku Graffiti (2015)

Vastly underrated

[10/10 · 7 April 2020]

Ryo is a teenager who has lived alone since her grandmother died, the year before. Her parents are working abroad and her aunt works all day and has no time to be with her. Lonely and melancholic, she indulges in cooking, trying to recreate the dishes she learned from her grandmother. But she is never satisfied and thinks that their flavor never reaches the perfection it should. That's when she starts to have weekly visits from her energetic and funny cousin Kirin, who comes from the countryside to attend classes at the same art school attended by Ryo. The two become friends and Kirin turns into the perfect consumer for all Ryo's culinary efforts, proving that what she needed was someone to share her dishes.

Koufuku Graffiti is nothing more than the story of two teenagers (or three, when accompanied by friend Shiina) who transform cooking and eating into acts of profound sensory and spiritual pleasure. No matter how simple the dishes are, the experience of eating them will be special and translated to the public in a warm, poetic and unique way. And in this culinary exploration they will discover friendship, solidarity and empathy. Perhaps because it has such a basic premise, the series didn't make it past the first season and does not enjoy the same popularity as other anime from the same period and even the same subject. It's a pity, because Koufuku Graffiti is sweet and highly enjoyable. Episodes are poignant, nostalgic and try to balance humor and emotion. The musical interludes are wonderful and the whole series is a true gem of simplicity.

K-On! The Movie (2011)

An absolute delight!

[10/10 · 9 November 2019]

The film begins by interweaving some of the plot of K-On's last two OVAs - the passport issue and the song for Azusa - and unfolds the plot of the group's trip to London. All I can say is that if K-On has always been known for being LOL funny, the movie does it complete justice. The first scene, in which the girls try to fool Azusa with the so called "musicianship" issue, and shortly thereafter are terrified, as expected, by Sawa-Chan's sneaky appearance, is to cry with laughter! And it's just the beginning.

Yui is more dizzy and hilarious than ever; Ritsu, Mio and Mugi are adorable as always and Azusa is the youngest and wisest, which doesn't exactly help her considering her bandmates. The songs are great (especially some new ones like Ichiban Ippai), the trip is fun and hectic and the script is tight, with the perfect amount of humour and the Fuwa Fuwa element.

Too bad the movie marks the end of K-On, because a sequel could easily have been produced with a trip to the United States. Let's hope.

David Brent: Life on the Road (2016)

Not Good

[5/10 · 27 August 2019]

What made The Office so successful was the fact that Ricky Gervais and the rest of the cast made you cry with laughter from the first to the last scene of each episode. It was humor at its best. Life on the road is not funny. On the contrary, it is depressing. I didn't laugh once, and not because it's bad, but because it's not a comedy. It's the sad story of a man in his fifties who tries to become some sort of a rock star but does everything wrong.

For some reason Ricky Gervais decided to add dramatic depth and psychological density to a character who was simply a happy-go-lucky idiot who lived his life without any commitment to the truth. The pleasure of seeing David Brent's stupidity is that it was light, funny, childish, and harmless most of the time. In this movie he is an unhappy, unfortunate middle-aged man hated and ridiculed by everyone. In The Office, he was wrong most of the time but every once in awhile he would get something right. Either way it was histerical. Here he fails on absolutely everything, is surrounded by people that are downright mean and vicious and has a melodramatic need for acceptance taken way too far.

When the movie ends you feel deeply sad for him. And not sad in a funny way, like the end of season 2 of The Office, but sad as you feel watching a drama where the lead character never gets a break.

It's time to retire David. But if he comes back for another movie, I hope Ricky will bring the rest of the cast. The Office was an ensemble show. David can't be funny if he's so alone and miserable.

I would've given it a three but instead I'll give it a five because ironically Ricky's songs are pretty good.

Girls und Panzer der Film (2015)

Great addition to the series

[10/10 · 29 July 2019]

The series ended with the girls ensuring that Ooarai Girls' Academy would go on, after winning the championship. Turns out the principal's promise was only verbal and not exactly binding. Therefore the girls face the possibility of the school being closed down again and this time they will be challenged by a college-level team. Will yesterday's opponents become today's allies?

It's a delightful movie, much like the series. Great animation, a fun dynamic script and the characters we love. Anyone who has not watched Girls und Panzer will have a slight problem understanding the individual plots, at first, but it doesn't take away from the overall enjoyment. On the contrary: people will surely look for the episodes, after the movie. Enjoy!

Phil (2019)

Solid effort

[10/10 · 7 July 2019]

The film is about Phil, a divorced dentist and father (of a daughter with whom he doesn't know how to communicate), who's going through an existential crisis. After a suicide attempt he doesn't have the guts to carry out, he meets a patient - Michael - who has a positive and enthusiastic take on life, gives him advice on how to overcome problems, talks fondly of his adventure in Greece with his friend Spyros, and has what could be called an ideal life: money, a beautiful and passionate wife, and a great daughter.

Phil starts stalking him from afar, trying to learn what the secret of a perfect life is. And on one of those occasions Michael - who believes he's alone - hangs himself. Finding out why Michael did it turns into an obsession to Phil and he introduces himself as Spyros to the widow, in an attempt to discover what drove Michael to throw such a good life away. We'll soon know whether he'll find what he's looking for or further aggravate his own personal problems.

It's a curious story, a light drama with hints of comedy and a solid effort by Greg Kinear in his directorial debut. Emily Mortimer is great in the role of Alicia, Michael's widow. Check it out.

Monsters vs. Aliens (2009)

Actually, very good

[10/10 · 31 March 2019]

I was surprised that a big budget animation from Dreamworks with such a good cast had a mere 6,5 rating. And turns out it is unfair because Monsters vs. Aliens is actually pretty good and very enjoyable entertainment. The plot, albeit not exactly original - aliens wanna take over the earth - works out fine because the characters are funny and endearing. Susan/Ginormica is certainly one of the sweetest and most attractive female leading characters in the animated world. The whole movie is a delightful surprise. There is potential for a sequel.

Loved it and recommend it.

Leaving Neverland (2019)

Brutal

[7/10 · 14 March 2019]

Just watched the four hours of Dan Reed's Michael Jackson documentary. Having been a fan of Michael for 35 years and having celebrated his acquittal in 2005, I confess it was brutal.

Wade Robson has changed his version of the facts to his convenience many times over the years, so his testimony is covered in "reasonable doubt". A lawyer would easily debunk it.

James Safechuck' testimony, on the other hand, sent shivers down my spine. I always supported the idea that Jackson was mentally and emotionally a child amongst children, and that any contact he might have with kids at Neverland would not transcend what happens when a child goes to a sleepover at a friend's home. I was not only naive. I was wrong. Beneath Michael's vulnerability, kindness and mildness - all real - there was a sexual predator like any other. Who abused, manipulated, lied and didn't consider for a second the emotional devastation he was causing each of them, like the worst of pedophiles.

I still admire Michael for his talent and will continue to listen and love his songs. But today I have the sad certainty that he was not just an immensely disturbed individual; he was a pedophile. If it is proved that James has lied, I will gladly recant. But I doubt that will happen.

I gave it a 7 and not a 10 because it's way too long and too much time is spent on Wade's family's problems, his brother, his sister, and that's not relevant.

Rent: Live (2019 TV Movie)

Great production, poor casting

[1/10 · 10 February 2019]

This is visually stunning and the production is amazing. But that's pretty much it. The band is so so and the orchestration feels flat and empty at times. It's tolerable, though. The real problem is the cast. For some reason Fox appears to have hired a cast of amateurs. Vanessa Hudgens looks wonderful and does an ok job but she's the only one. It hurts to see Tinashe and Brennin Hunt wasting some of the best songs in the play with bad acting and no voice. Same can be said for Jordan Fisher, Kiersey Clemons and Brandon Victor Dixon. James Leyva is very cute but unfortunately can't sing. It's a shame.

For those who wish to come in contact with this masterpiece I suggest Chris Columbus 2005 film version of Rent.

McKellen: Playing the Part (2017)

Boring

[1/10 · 31 January 2019]

McKellen is a great actor and no one disputes that. But I hoped for a documentary where he would focus on the creation of his theater roles, especially the shakespearean ones, and what we get instead is an hour and a half of small talk, light gossip and no real depth.

Beyond Boundaries: The Harvey Weinstein Scandal (2018)

Cheap

[1/10 · 20 January 2019]

Cheap and mediocre documentary on the sexual harassment charges against Harvey Weinstein. No exclusive interviews, no news, nothing that we don't already know. Just 90 long and boring minutes of archive footage we've seen before. Skip it.

All We Had (2016)

Katie pulls it off nicely

[10/10 · 4 January 2019]

In her debut work as director, Katie Holmes tells the story of Rita Carmichael, a single mom who collects useless boyfriends, dumps them and goes from town to town with her daughter Ruthie. At some point their car breaks down in a small town and they are forced to work at a diner to support themselves. And there they will meet new people and their lives will take an unexpected turn.

Every time I see Katie on the screen I feel sorry that her career was cut short by her marriage. She is a brilliant actress, far superior to so many others of her generation and should be getting better roles. Her direction is competent and her performance is flawless. Stefania LaVie Owen, who plays her daughter Ruthie, is also very good.

State Like Sleep (2018)

Watch it for Katherine Waterston

[6/10 · 2 January 2019]

Girl whose husband committed suicide is forced to return to the country where she lived with him, in order to solve with her mother-in-law matters pertaining to an apartment. The girl's mother is there with her; she has a stroke and is hospitalized, so the girl has to stay there longer than she imagined. She decides to investigate her husband's suicide and ends uncovering a series of facts that clearly show that the previous police investigation was not exactly competent.

We've seen this movie a thousand times and I probably would've stopped it after about half an hour if it weren't for the presence of adorable Katherine Waterston in every single scene. And that is a complete pleasure. She's gorgeous, sweet and a fine actress. She's worth watching this.

Nowhere Mind (2018)

As always, first half is pretty good

[5/10 · 20 December 2018]

Ivan has schizoaffective disorder and uses advanced meditation and out-of-body experiences to control it without meds. He falls in love with a girl that's engaged to a friend of his, with whom he ends up going on a camping trip in the woods. At a certain point the friend discovers the affair and they have it out.

The actors are great and the story hooks you up for awhile but completly loses itself after about an hour of film. The ending is dumb and disappointing.

Speed Kills (2018)

Pretty Good

[10/10 · 18 November 2018]

Yes, the direction is lousy, screenplay is shallow and it does look like a B movie, at times. Pretty much the same feeling I had when I watched Travolta's "Gotti". "Speed Kills" is like Lifetime's movie of the week.

The difference is that Travolta is Travolta. He's good, he's funny and he always delivers. Moreover, it's a true story, it's very interesting and it is a treat to see Travolta and Tom Sizemore together.

Not a masterpiece, but overall, pretty decent entertainment.

Snatch (2000)

Are you kidding me?? 8,3 for THIS???

[1/10 · 17 October 2018]

How in the world did this piece of garbage get an 8,3 rating? It's a lame, stupid action comedy about idiot people doing idiotic things. A bunch of gangsters, hoodlums and murderers are trying to get their hands on a huge diamond. Throw in Brad Pitt playing a moron who can fight and that's about the whole plot. Humour is sophomoric. It's not funny. It's not credible. It's just dumb.

I've read reviews saying Guy Ritchie was vastly influenced by "Pulp Fiction" to do this. No, he wasn't. "Pulp Fiction" was a masterpiece. This is a ridiculous b-movie that probably only appeals to kids and stoners in England.

The Seagull (I) (2018)

Far from Chekhov

[1/10 · 29 September 2018]

When you make a 98 minute movie of a play that usually clocks in at about two hours or so, a great deal of text is bound to be wasted. It's the case with this latest version of "The Seagull", and Chekhov is not an author whose lines you can simply discard.

Dorn, the doctor, has been known and remembered since the premiere of the play in 1896 for prescribing his idiotic "valerian drops" (which according to Stanislavski's memoirs was something that Chekhov himself used to do, somewhat mockingkly, since he was a doctor himself). It's not in this movie.

Trigorin's magnificent monologue to Nina about never being able to compete with Tolstoi or Turgueniev - one of Cheklovs finests - was butchered and becomes meaningless. Konstantin has a long and heartfelt conversation with Sorin at the beginning to explain his problematic relationship with his mother. It's brutally cut. Polina, Masha and Medvedenko are reduced to a useless bunch of shallow losers.

Director Michael Mayer was apparently more concerned with beautiful landscapes, lakes, boats and gardens. And a soundtrack (very sweet and nice, I might add) that reminds us constantly of Hallmark rom-com. As it's been pointed out, here, the movie is "beautifully made". But it has nothing to do with Chekhov.

The cast is very uneven and the roles are poorly developed. Director's fault. Saoirse Ronan is ok, and her smile lights up the screen. But no real depth. Corey Stoll is excellent but his role was pulverized so he doesn't have much to do with his Trigorin. Same with the brilliant Brian Dennehy's Sorin. Annette Bening is good but lacks the necessary charisma for Arkadina. The sweet, sad and loving Masha turns to a neurotic drunk by Elisabeth Moss. Mare Winningham's Polina is just a whiny and annoying matron. And Billy Howle is awful. The idea of the role created on the russian stage by Meyerhold being played by a talentless nobody is just wrong.

For people who wish to come in contact with this wonderful play, I recommend the flawless 1975 version with Blythe Danner, Frank Langella, Lee Grant and Kevin McCarthy. Or Lumet's 1968 movie. And for real aficcionados, the 1974 russian version, with great Irina Miroshnichenko as Masha.

Damascus Cover (2017)

Pretty good

[10/10 · 24 September 2018]

I don't get the low ratings and the hate reviews. It's a good solid spy thriller about intelligence and counterintelligence between the Moussad and the Mukhabarat. Jonathan Rhys Meyers is not exactly Olivier with accents but he's improved over the years and does a pretty good job as an israeli agent. Olivia Thirlby was somewhat plain but also ok. And it's always good to see Jürgen Prochnow, even in such a tiny role.

But the real icing on the cake was the wonderful and so dearly missed John Hurt, in his farewell performance. Brilliant and poignant til the very end.

Overall, pretty decent entertaiment.

Distorted (I) (2018)

Not Bad

[7/10 · 24 September 2018]

It's amazing how people get lost in their criticism. The film is about the effect of subliminal messages and involuntary hypnosis on a person who has manic depression, brought on by the loss of a child.

Christina Ricci is cute and competent as always, in a role that doesn't require much, and John Cusack is John Cusack. That's enough. It's an unpretentious thriller with a low budget. People need to chill and just enjoy it.

Tomb Raider (2018)

Pretty good

[10/10 · 1 June 2018]

It's funny reading hate reviews that use words like "abominable" or "avoid at all costs" to describe a simple action flick. This is not David Lean or Costa Gavras; it's not a morality play or a piece with deep philosophical issues or political values; it's the reboot of a movie based on a freaking video game. Some people need to relax a bit and learn to just enjoy movies.

And it's a pretty good reboot. it's a nice mix of Lara, Raiders of the lost ark and The Mummy. Yes, it is cliched and the screenplay is weak but Alicia Vikander is awesome as always and the action scenes are gripping. Not much more we could ask from it. Go see it, form your own opinion and ignore hate reviews.

Captain Thunder (1930)

Sweet romantic comedy with gorgeous Fay Wray

[10/10 · 4 May 2018]

I can't understand for the life of me what people are thinking when they criticize this movie for the xeriff's jokes, the songs or the accent. First of all, IT'S A COMEDY. It's not drama, adventure or whatever genre IMDB claims it to be. It's a sweet, lighthearted romantic comedy about a mexican thief who's actually a nice guy. The screenplay is not intended to be anything else.

Second of all, it's a movie from 1930. An early talkie. Directors were pretty much still learning how to work with music and accents. Overall it works out fine. We all know - as much as the audience in 1930 - that Victor Varconi and Fay Wray were not mexicans. What matters is that Fay Wray is drop dead gorgeous! She's talented and stunning. Every one of her scenes, as the cute young girl that dazzles the good bad guy and ends up with a bit of a crush on him, is a delight.

Varconi does a very good job in a role that would have been perfect for Douglas Fairbanks, ten years earlier. One of the reviewers said Varconi "in spite of his age, did a wonderful job in this film". Once again, I don't understand it. What the hell is wrong with him or his age?? The man was thirty-nine!! The perfect age for any role in a romantic comedy!

Forget these reviews. It's a sweet little comedy with one of the most beautiful actresses of all time.

The Perfect Specimen (1937)

Delightful romantic comedy!

[10/10 · 2 May 2018]

What a pity The Perfect Specimen can't be released on DVD because of copyright issues, because it is a delightful romantic comedy directed by the great Michael Curtiz. Joan Blondell was at the height of her beauty and stardom but was being wasted on silly movies with predictable, boring male leads (Dick Powell, Pat O'Brien, etc.). Alongside young and exuberant Errol Flynn she is in her element and both have exceptional performances.

The movie is a breath of fresh air. The story is light and has no big twists, and it's just a treat to see Blodell and Flynn. Anyone who can find a copy of this film, or watch it on TCM should do so. It's guaranteed fun.

Witness Out of Hell (1966)

Watch it for gorgeous Irene Papas

[6/10 · 13 April 2018]

Directed by Serbian Zivorad Mitrovic, the first wave of post-war Yugoslav filmmakers. Screenplay by Frida Filipovic and Michael Mansfeld. Yugoslavian girl - Lea Weiss (Papas) - is sent to Auschwitz. Inside the camp there is a brothel reserved for high-ranking thieves and bandits, and she prostitutes herself there for small perks. Beautiful and young, she is taken by a Gestapo doctor - Dr. Berger (Hans Zesch-Ballot) - who experiments with sterilization in the prisoners. She becomes a victim of the experience and soon after the general's lover. This way she's able to escape experiences involving the freezing of people and other monstrosities. When he gets tired of the girl, the doctor sends her back to the brothel, where she stays until the end of the war. Years later, she tells part of her story to a boyfriend - Bora Petrovic (Daniel Gélin) - who releases the memoirs in a book.

Then she marries a French reporter who dies covering the Indochina war. She decides to settle in Germany, where she receives small financial compensation for her sufferings during the war, and is unaware of the fact that her benefactors are the sister of a SS general - Elsa (Radmila Gutesa) - and the legal adviser - Walden Werner Peters) - of the doctor who raped her in Auschwitz.

After twenty years, a promoter - Hoffmann (Heinz Drache) - begins to gather evidence to arrest Berger, who is free and happy. He tracks Lea down, but she refuses to help and denies everything published in Bora's book. Hoffmann goes to Belgrade and asks Bora to go with him to Germany to persuade Lea to testify. He accepts and they both discover that Lea is being blackmailed and threatened not to testify. Gradually she opens up and tells even more terrible details of her hell in the concentration camp. And with that the threats increase and start to break Lea's fragile emotional and mental stability.

The movie has low artistic quality. I'm not familiar with Mitrovic's other movies, but Gorke Trave looks like a college grad's work. Direction is below amateur. The story has its relevance and could have resulted in a very interesting film, specially for bringing little known stories from post-war Yugoslavia, but the dialogues are so idiotic they do not steer any emotion. Dialogues are shallow and dumb. I have rarely seen situations of such dramaticity being talked about in such a stupid and artificial way. Daniel Gélin and Heinz Drache range from average to mediocre.

The only thing that saves this movie from oblivion is the cathartic presence of the insanely gorgeous Irene Papas. For some reason she did not become an A list actress in the States after the success of Zorba The Greek, and in the following years she made several films in Europe. Some good, others ok and others like this one. We can almost forgive Mitrovic, because at least we can see Papas in all the splendor of her beauty. Papas is perfect. Everything about her is wonderful. It's a shame the movie is so bad because in the hands of a real filmmaker (like Costa Gavras), Papas - who was not only stunning but a great actress - would have given a powerful, frightening and moving performance. It's not what happens, but at least the divine beauty of her at 39 is eternalized.