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Godzilla x Kong: The New Empire (2024)
!Even worse than the last one!
Thomas Tull once had his name and credit attached to one of the best popular movies of all time. He said: its ok if we lost its director we have found a replacement on the man who direct 300 That shows how much he knows about films and about movies.
The first director went on to make Oscar winning films like Inception and Oppenhaimer, while the second one directs and Army of rebels to losing millions and Tull went for producing crowd-pleasing masterpiece with Nolan to ruining his legacy with trash as this one.
Sure its making money, by the cannibalization of Dune 2 biggest screens but its also the worse King Kong movie i ve ever seen.
At least its not the worse Godzilla movie ever. At least...
The only good thing in this movie is the way its handles telepathy so as to spare us of more bad dialogue.
Night and the City (1950)
A film noir for the ages
Cinema is many things
sometimes it's entertainment
others is reflection
Many, too many,
It is industry.
Intention to enrich or effort to align.
Jules Dassin in this overlooked gem tells us by ways of games and deceptions all that
and the effects
that our own evil causes
in you and me
in my ancestors and in your children
and the light
that Mr. Max Green guides with his firm hand and watchful eyes
that sometimes seems like pure shadows
of wellesian mood as fit a tale of wickedness and retribution as this one
as only the biggest and the brightest could conjure.
Thank you Zanuck, thank you Fox and thank you Criterion for this film.
Rysopis (1965)
Nice debut for a not such famous polish filmmaker
Identity marks: None
Opera prima with all the strength and claw of someone who clings to a project as if it were a lifeboat moments before a shipwreck.
Dispersed film unified through the freedoms that Modernity with a baroque tendency (It is a Polish film in the sixties) promoted.
I'm a sucker for first films and black and white, but without a doubt (and Jean Luc Godard and the Mubi streaming service vouch for me) this is a great movie.
It is a short film, made up of a small succession of long shots.
Although the story proposes to tell: A day in the life of a man for whom circumstances have outgrown him.
Unlike its protagonist, played by himself, the story and its circumstances were not great for Mr. Skolimowski who manages to present his proposal, making inspired use of his shortcomings.
Poland has been a breeding ground for good cinema since the Lodz film school was founded. It's nice to find the beginning of other great filmmakers.
(Skolimowski is a co-writer on Knife in the Toilet, so many moviegoers know his work even if they can't pronounce his last name.)
Misanthrope (2023)
more than meets the eyes
This movie seems to be a normal Seven inspired neo noir, made on a city that not as famous as others , but one in which Hitchcock made a flawed masterpiece with some wondrous color.
So i think, a movie that s referenced Seven made in Baltimore should be a good thing to watch while enjoying some air conditioning and popcorn.
!What a surprise!
Damian Zsifron, Ben Mendelsohn, and specially this Girl are at the top of their game,
Of course its references Seven and Hitchcock, but it does so with awe, its like Zsifron knows he s sitting on the shoulders of movie giants and pays his respect.
This movie is well lit, incredible well acted and most of all profound.
Skull Island (2023)
Really nice way to get King Kong to younger fans and to all Calico Fans
I am an old man, i remember back in the eighties the King Kong tv show, really loved it.
Then i got big enough to watch the film the 1933 original on Betamax with my uncle, !What a great evening!
Of course the movie was way better than the cartoon, but...
and know so many years, and some movies latter. Netflix announces this show, i didn't like the trailer...but i hate trailers anyway, last night i decide to give a shot...was really worried by the way Netflix have been treating movies and tv shows has ammunition on their cultural war.
But what a surprise
their first episode was great
no so good animation but the suspense and the characters were enough to make me want to see the second episode
And boy was I hooked
Legendary did a great job respecting the tradition of Kong while keeping it fresh enough for young people to jump onboard the Skull Island wagon.
It s has something for the legendary movie series fans, for the Old King Kong Cartoons fans, even for fans of the Calico, i know there s some of those out there.
Spider-Man: Into the Spider-Verse (2018)
Relative to Spider man animation
Postmodernity has A. Einstein as its precursor prophet, time and space are relative, People says Einstein said, and they continue from that assumption assuming that everything is relative, from the color of reality and truth to the universe itself.
That is why there is not a universe but a multiverse of infinite possibilities... In which the events do not have true weight (We do not know what the truth is either) because around the corner of any particle collider any event had a different outcome, or a different cause, or the same thing happened but in different colors...
The philosophical implications of such a current of thought are absurd and have the disastrous social consequences, in this film they work very well, since the dolls or Muppets, or cartoons are essentially any verse in which everything that can be drawn is worth .
I love Peter Parker, that's why I had never seen or read anything about Miles Morales, but this movie is good, you can watch it and enjoy it...Actually the movie is really good, its got nice colors and is fun.
The Killers (1946)
The perfect Film Noir
It is undoubtedly a film for critics, it has been recognized by Rotten tomatoes, by the gringo library of congress, by the Academy of the Oscars, E. Hemingway himself said of it: It is the best film they have made of a story of mine, And it's also a good movie.
I don't think it's good, for me it's perfect. I remember that Nestor Almendros said of her in Cinemania, his compilation volume of film criticism, that her chiaroscuro was an example of the best cinematographic work.
I saw it on Holy Saturday 2023, in the morning, I couldn't get away from the screen, because of it s suspense and of the great quality of sequence after sequence. I was convinced that it is a clear example of what Kubrick said:
A film must be a closed succession of unsinkable sequences.
339 Amin Abel Hasbun. Memoria de un crimen. (2014)
An appreciation
When the Lumiere brothers presented their invention in public (December 28, 1895) in Paris, the masses of spectators were amazed at the "magic" and the dreams that enveloped them from the screen. Besides being the producers of a fairground trick, entertainment for the unwary. The Lumieres were extremely efficient and skilled individuals and conceived their proposal as an avant-garde continuation of the Impressionists' work in Painting. They wanted to make everyday life visible. Thus the cinema remained an exercise in invocation of the immanent: The means of transport, the departure of the factory workers: the first steps of a baby ... the underlying theme of all the work of the Lumiere was the human being.
Eleven decades later, in the Dominican Republic, it has not yet been possible to make the cinema appropriate the theme of the Lumiere, humanity, and it is common to see films whose relationship with the interior of the human being is ... scarce; (not to mention null). We are grateful that this is not the case of the film that gives its title to this reflection. Being human is not just having desires; it is also having yearnings; it is not just fantasizing, there is room for dreams and utopias; It is not only to succeed (woe to the protagonists who survive plane crashes, bursts of submachine guns and fast and furious accidents even and when their actors do not manage to survive very similar accidents) it is also to fail in the attempt. Like the baby who cannot take his first steps without stumbling in the Lumiere short, neither does Amin's baby manage to make his father return or move his murderers with his screams in Etzel's film...
Amin Abel Hasbun is a dead man from the internal brawls of a Cold War that touched us indirectly and the team of this production would do poor service to Dominican society if, for the sake of supposed profitability, they ve refused to recreate the harsh daily life of the persecuted ... A precedent that we must not forget; because the tentacles of state violence; today asleep, are still dangerous and subtle. I would also like to point out that 339 Amín Abel is a film with many hopeful overtones; its director and screenwriter is not a cynic; it is just that the situation in which the protagonist's widow was involved was very cynical and Etzel chose (there was no alternative) to show us what that situation was like with its great bitterness and its tiny triumphs.
Carmita (2013)
Twilight
It is common for sunsets to be attractive, to deserve attention. The falling sun remains powerful, its light, nuanced, maintains its blinding quality, it is easy to burn your eyes seeing it. The twilight light is great, beautiful. The impression that it provokes has been the origin of legends (the book of Am-duat) artistic movements (Paris at the end of the 19th century), in Psalm 65 it is celebrated as a manifestation of the benign power of God.
However, in human beings, the twilight of life turns out to be a burden. Most people do not live beyond 70; the most robust (or lucky) turns 80. Those twilights are long, elusive, in some fruitful lives (Cervantes, Bergman) in all they are hassle and work.
The Cárdenas couple (Laura Amelia and Israel) have allowed us in their third feature film to attend a long twilight (the duration of the film does not exceed an hour and a half, but it is not common to devout a movie to old people) that of an acting lady who could have been a movie princess. With her voice, worthy of any theater, she tells us her story that of the young filmmakers is told in images, visual, sound, twilight. The advent of video and digital post-production techniques has allowed entry to the light spectrum that is in the very small range of the visible (the dreams of Rembrandt and Caravaggio move in front of us). One of my favorite points in the film, if a sunset is narrated to us, it will be necessary to show dark moments, such as the one that closes the story (a bite, which Laura claims to be true) and that works as a false climax in the tradition of the best Hollywood screenplays.
After a walk in the mountains, the film closes with a reminder of the power of the word, the power of communication, of dialogue, when it is done wanting to express the truth.
This film is a triumph in the careers of the young filmmakers, a talent that we hope will be able to make themselves known more and more and that this project (halfway between the genres, as good cinema has always been: Flaherty, Guerin) can enjoy a trajectory in the distribution windows of new media and can be made to reach all lovers of actress and sunsets.
La academia de las musas (2015)
What is the purpose of a film?
What is the purpose of a film?
In his 1997 film "Train of Shadows" José Luis Guerin (Barcelona 1960) seemed to wonder the purpose of a celluloid roll? (Let me specify, several rolls some of them in 16mm) and built his response about the existence of a domestic, spectral filmmaker. In 2007 in the film "Dans le ville du Silvie" the question seemed to be: What is the purpose of a memory? And his answer came through the sketches of a painter in his sketchbook. In "Guest" of 2010 and in tone of "document" the answer to the question posed in the film is visceral, almost reactive and is recorded in the same voice of the author: "The painting, the painting is more important than cinema". These examples present a constant in Guerin's filmography (Recurring in "Bertha's motives" and his filming within the film, "Innesfree" and the fictional town evoked by John Ford in "The Quiet man" "Under construction" which is literally a course of higher studies in cinematography, "Some photos in the city Silvia" which is a feature film and at the same time the sketch of another feature film)
Guerin perhaps the most cinephile of all contemporary filmmakers is also the one who seems to question the strength of the aesthetic proposal of cinema as an autonomous entity. His films usually present questions such as: What is the use of filming? What is the value of the celluloid? Who have been the big stars in the places where they are supposed to leave their mark? Why produce a film with a specialized technical and artistic staff if an individual with a camera made to record baptisms, weddings and birthdays can tell the same story? To say what they have said before and better: Rembrandt, Degas and even Hopper do you need to hire a small army of costume designers, makeup artists and decorators? Can an actor, or actress, better express the trace of passions, vicissitudes, pleasures and joys on the human face than Velasquez, Rafael or Leonardo? Will any Director of photography dare to suggest that he and his camera crew have managed to capture the diaphanous and dark journey of light better than: Caravaggio, Turner, or that the Flemish and Impressionist School?
To call into question the very value of cinema as art that Guerin's Filmography has done and that he does again! Taking over from Dante f all authors! in "The Academy of the Muses" (feature film as peculiar and modest as it is deep) On this occasion the answers that result turn out to be an outburst of confluent doubts at the gates of the Averno (!literally!) It is necessary to recognize that if the value of this film resided only in the above mentioned, its interest could be limited to hard moviegoers, Guerin s followers, aspiring filmmakers and the rest of Guerin's colleagues, the general public would be better served by ignoring the film that would become an aesthetic device more typical of a visual arts biennial or an academic symposium. However "The Academy of the Muses" and in this resides perhaps its redemption; It also shows in a subtle way (without any intention of pontificating) that our actions have consequences on those we say we love and it does so in such a reliable way that in the end, after seeing it, catharsis becomes.