Change Your Image
Rodrigo_Amaro
Lists
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
The Dead Pool (1988)
A Bittersweet Farewell
5th and final installment on the Dirty Harry series, "The Dead Pool" doesn't go off with a bang as many would like, but it doesn't disappoint all that
much. It's passable and excusable if considering that it was made in a hurry as Clint Eastwood was trying convince Warner to produce a dream project
of his, jazzman Charlie Parker biopic "Bird" (a greater film by all accounts and a complete deviation of everything Clint had done until then). This
final entry of legendary inspector Harry Callahan is soft and almost bland in comparison with the previous dark, violent films, but it's not a total
loss as there are a couple of great memorable moments, and even manages to make a social commentary on celebrity culture and public obsession with famous deaths.
It's a little confusing story as we follow two distinct scenarios that feels forced when put together, as Harry is the target of a mafia boss
he sent to jail and he also end up on a game list of famous people that a serial killer feels compelled to eliminate. A horror film set serves a crime
scene stage when a drug addict/rebel movie star gets killed, and after that a series of other crimes involving the movie industry begin to intrigue
the inspector, his Chinese-American partner (Evan C. Kim), a nosy TV reporter (Patricia Clarkson) who rides on Harry's fifteen minutes of fame, and
the horror film director (a highly enjoyable Liam Neeson) who might as well be the main suspect.
Eastwood's long associate Buddy Van Horn is the man behind everything, but his direction of "The Dead Pool" is quite problematic. Weak editing,
tedious presentation of action sequences and a lack of enthusiasm dominate a great deal of the film. A few of them actually work in a fine manner, such
as the attack on the elevator when Harry and the reporter really feel closer to death; and the memorable car chase sequence involving a remote control
car following the detectives through the San Francisco streets.
It's easy to understand why it failed with most audiences (I didn't like the first time either), as it was done in a hurry, under developed and
under written. Yet a couple of classic Dirty Harry elements are there, the humor, the single shooting of bad guys with his Magnum, and even some small
criticism of society of its period - though it's not wildly political or controversial as the other films were seen. Also worth seeing for Guns N'Roses cameo.
I don't think Clint and company
would predict this would be Harry's last film, and if so, they should've changed the ending just to show that he could learn something (or at least,
surprise the audiences). Considering what we previously discover about the villain, Harry's last resolve feels very cheap and sickening.
Despite its problems, it's still one of those films that manages to do some good, it entertains a little and create a nice mystery with some fun
thrills. It might not be the send-off we deserved with the character, but it's the one we got and it was okay. It could have been a lot worse. 7/10.
Rescue Bus 300 (2018)
A terrible docudrama
First and foremost, this review does not come in light of current events revolving two conflictuous nations, which is taking world attention
for countless reasons, but it comes in light of this film availability around the exact same time. Nothing more. With or without such context, it's
still a painful waste of time with a terrible, if not fake, marketing.
"Rescue Bus 300" is sold as a thriller, based on actual events, that chronicles the 1984 hijacking of a bus in Gaza, when Palestinian terrorists
took over an Israeli vehicle filled with passengers, threatning to explode it if their demands of releasing prisoners were not met. However, the
drama of it all quickly shifts to become a documentary as similar as the ones made by Discovery, with survivors and witness of the event become the
central point of everything and the film is a mere re-enactment told in a poor manner. It comes as a surprise the twist because there's no narrators and
the film goes quite well, until a voice appears, then countless talking heads begin to share their experiences, from the victims who were on the bus,
the military behind negotiations and tactic attacks, and a photojournalist who missed everything but a key photo.
I kinda like those specials made by Discovery - though it's not exactly my cup of tea - as there's good things on them and always some fascinating story
to be covered. Here it simply didn't work. The re-enactment was of little interest, highly and painful one-dimensional with all the characters, repetitive and poorly made.
The interviews, which overshadows everything, aren't even insightful or curious, and in one particular moment a military man reveals exactly their
fascist nature when it comes to dealing with terrorists (killing is mandatory even when the danger is over and everybody has surrended). But before that
statement, we are shown that their first response when spotting the bus, was shooting at it with total disregard for their own people inside of it.
It's only an hour long, but 15 minutes into it and I was already bored, uninterested and kept going on automatic pilot mode - watching unfold and
trying to follow the insanely fast captions.
It only got fairly interesting when archive images and photos of the actual event appeared and when a plot twist revealed why this takeover marked the inner
politics of Israel. I don't wanna spoil that bit, so here's two options you can try: fast forward to the last ten minutes or reserach the Bus 300 incident on the
internet. On both scenarios you'll be saving a lot of time that can be spent better without watching the whole thing. Those final moments, despite occupying very
little time, should be the main focus of the documentary as they reveal the true nature of conflicts and that sometimes one cannot escape from inner
criticism and mistakes are made on both sides. And all that was needed was simply one perfect photograph. The final bits are worthy of discussions; the
kidnapping, as critical as it was, doesn't convince much. 2/10.
Going Home: Behind the Scenes with Ben Affleck (2008)
Watchable making of
A watchable making of from Ben Affleck's directorial debut "Gone Baby Gone" with the actor turned director and his cast members sharing the
uniqueness of their collaboration and how important shooting in Boston (where he and his brother, leading man Casey Affleck grew up) with the locals
was significant to the film.
Author Dennis Lehane, who
wrote the novel, is also present and shares some ideas on why he composed that dark story, which reflects a great deal of reality.
It doesn't feature
much from the filming, just some bits here and there, but it's still enjoyable to watch as we're able to witness how involved Affleck and his team were with that great movie. 6/10.
Doutor Castor (2021)
Amazing documentary mini series!
This is a stupendous and fascinating documentary series on contraventor Castor de Andrade and all of his activities, both as a criminal figure
behind illegal gambling (jogo do bicho) but also as an influential and important figure on the Rio de Janeiro society, dominating the world of Carnival
(of which he was the founder of the Samba Schools League of Rio) and as owner of soccer team Bangu. He was such a divisive and controversial figure
that whenever his name is mentioned, most people associate him with obscure things. But "Doctor Castor" manages to show such a different side of him that
you end up liking him, you feel seduced by his popularity (as told by many of his friends and associates), and there were good things about him that
cannot be denied. This is a powerful documentary of such a powerful character and it totally feels as something you have never seen before.
If, like me, you only heard about the man and don't know much about, this is a must-see experience. Never a lost moment, very thrilling, entertaining
and informative on a balanced manner, and funny as hell. The man was such a character that it makes me wonder where's the movie about him. Some brilliant
mind needs to write a film or a miniseries about him as there are plenty of solid material to work, by dealing with everything he was involved, his escapes
from justice, and the legacy that still stands with his influence on the Carnival world. Countless up's and down's, from his successful rise in a world of money and power
where he could deal with all kinds of people (rich and poor) in an easy-going manner, and also a huge downfall with successive problems with justice and
their combat on illegal gamblings.
Besides the several archive footage and interviews with Castor, we have the presence of his friends, lawyers, soccer players from Bangu, and also
the prosecutors and the judge who went after his dealings. They all provide great insights about his importance, sharing amazing anedoctes and facts of his,
and a majority of those stories are real fun to hear as they a view of Brazilian society that it's completely unthinkable - yet it all happened. But what impressed me the most came from his period with the soccer team, where they had their most
glorious days in the mid 1980's, culminating with the Brazilian Soccer vice-championship of 1985. Heavily dramatic and thrilling moments that keep you
immersed in the details from the games of the period and how that title escaped them. It was a very emotional journey for the players who appear in the
film and you can see why, all about the differences they could have made, the regrets and how it devasted the team in the following years since they never
got back to such great quality.
Throughout the doc, "The Godfather" is constantly referenced by people when defining Castor de Andrade and it's a proper definition for certain
reasons. As they had a series of diversified empires and dealings, they had a great talent for business, but it all comes down with a prize, with tragedies
along the way - "The Boss of Bosses" is the title of one of the episodes. It's easy to find some similarities, but the main one related with the human
element resonates on both figures: how big it would be their magnificence if they were on the right side of the law and if they applied their vision and
talents while working for different causes? In his particular scenario, could he bring the many titles won on the Carnival parades without making some inner
schemes, or could Bangu have the same merit as a team? Those questions aren't answered, but it's great to imagine the possibilities.
Quality documentary on all levels, one of the best of its kind and you won't stop it until you've seen all episodes. 10/10.
The Longest Day (1962)
A glorious cinematic achievement
"The Longest Day" is a towering epic of unseen proportions, even by today's standards, that covered the most important day and event of World War II,
the Allied forces invasion of Normandy against the Nazi in what later became known as D-Day on June 6, 1944. It's done on what one expected that day would
be, filled with anxiety, stress, the horrors of war, all that paved the way for the liberation of France and a significant defeat to Hitler's commandos.
It's a massive gathering of legendary Hollywood stars from its Golden Era and also around the world, and that fact alone makes the film worth seeing.
Richard Burton, John Wayne, Henry Fonda, Robert Mitchum, Sean Connery, Gert Frobe, Arletty, Jean-Louis Barrault, Paul Anka, Sal Mineo, and the list goes on,
as they appear on the three different fronts of the conflict: American, British and German forces, segments given to a specific director: Ken Annakin, Andrew Marton
and Gerd Oswald.
It has everything one expects from a classic war film and the usual routine from the stars of the period. Certainly served its intention back in the
day as being an all-star epic picture and it's interesting to watch. But it's one of those things that lose some appeal overtime, specially if you've seen
all the war films that came after this one, most notably Spielberg's "Saving Private Ryan" which brutally opens with the D-Day. This isn't about the pain
and guts of a battle, it's mostly about reaching out for the glory, and most of our emotional impact is lessened because of the stars presence, even though
they're mostly reduced to cameos. The way most war films expose their reality couldn't been done in the 1960's, obviously, but one can easily watch the film,
if enduring three hours of it.
There's a fine representation of all sides, without excessive use of stereotypes or too many cliches, and greatly succeeds in the quieter yet anxious
planning moments far from the battlefield. The sets and recreation of events, set designs are a great treat as well, but must say it loses some of its effect
when you spot some goods, some bad compositions and effects - Rommel disappearing on the halfway of a projected screenshot was insanely hilarious - that for
brief moments it feels like a rushed production.
I still stick by a significant - if not emotional - high note as it had everything I wanted and expected from a classic epic - watched exactly on
the 60th D-Day anniversary, broadcast by a small TV company that don't even show films anymore. The recent rewatch didn't impress me much for reasons.
But, it was worth rewatching a great testament of what great cinema could be, the importance of its message and legacy about one of the darkest conflicts
to ever exist. The close we ever get from stories like this comes from miniseries as they benefit a lot more with such format. This one can still impress,
but only if you haven't seen much from classic films or war themed stories. 10/10.
Sagrada Família (1970)
A waste of everything
This underground experiment called "Sacred Family" is a total mess from the get-go. It's so bad that it's not even worth mentioning its sequences
or anything, as it didn't have anything worthy about them. I understand the idea used for it, as director Sylvio Lanna tries to mimick the cinema of Godard
where images and sounds move on different directions and notions and its up to viewers to find a connection between different ideas. What you see is completely
different than what you hear, and in this particular case there are two opposite stories, one told through its images and one told with its soundtrack. But
nothing works. With Godard and similar, the ideas work (sometimes) because it's not used on everything, it's just portions of the film where he can play
with different medias that can make a unusual or relevant combination, there are things to be said and expressed in an apparently disoriented manner. Here,
everything was disjointed, painful to hear and slightly interesting to see, and it goes on for an eternity (one hour long that feels like forever).
It's indicated that it tells the story of a middle-class family getting detached from their values and everything, leaving it all behind (the visuals)
while an underground artist of sorts make a performance (the sounds). Both ideas are unappealing, weird looking (but the late 1960's settings and view of
the period are somewhat worth watching) and ugly sounding with its series of interrupted music, neighboring sounds, small lines of dialogues and phrases
here and there. It's not poetry in motion, it's all a pretentious collage of elements that doesn't form a whole. It's extremely revolting as one cannot form
a whole idea of what this was all about, not a single point was made and neither its mindless moments were entertaining.
And I'm forced to use old-style cliches such as "It's better to watch paint dry", "Hours of my life wasted where I could've been watching something
better or revisting a film I like", and "Hours of my life I won't have it back" (and I stayed til the very end). They're all true and valid, but I was also curious in seeing how such idea
could be presented on a feature film rather than a short, where it's best served. But after seeing the tragedy of it all, it's no wonder why Mr. Lanna
never returned to the feature format and his next project would only be made nearly 50 years after this very weird movie. One simply does not recover
easily after watching such a wreck. 1/10.
Moby: Porcelain, Version 1 (2000)
Great song, video, visuals and everything
A colorful, giant woman's eye observes Moby performing the song along with other images in a kaleidoscope manner in this first music video for
"Porcelain" (a second version featuring a dream scenario also exists). Jonas Åkerlund makes a vivid and visual experience that gives the impression of
a continuous close-up shot of a human eye observing everything that comes its way or what memories/dreams can bring through a unique perspective. It
greatly contributes to create many possible views to connect with the amazing Moby song.
Intriguing, a little surreal but a great and beautiful composition
of elements, colors and visuals - it just a little creepy to keep looking at an enormous eye and Moby's face appearing between shots. The music makes it all more interesting, a fine relaxing song. 9/10.
Moby: Porcelain, Version 2 (2000)
Lucid dreams
This alternative video for Moby's single "Porcelain", while not necessarily best known among audiences (at least this wasn't the one shown on TV
here), it certainly works better while treating the topic of dreams which is present in the song, if compared with the one showing a giant eye having visions.
This one shows a metaphorical view of life as Moby is the passenger of a car without a driver and such car always gives us the impression of facing
collision with other vehicles and places yet it's always saved at the last minute ("In my dreams I'm dying all the time").
Visually, I see it as a metaphor for trust and faith where you can sense the danger and the problem in a scenario but you firmly believe it you can
succeed it with confidence and greatness as you trust in something or someone that can get you overcome anything. Also works as an observation we have
during dreams where we face some dangerous situation but at the same time, yet we're somewhat comfortable as nothing bad can happen because we are
dreaming - though we never see Moby sleeping or waking up afterwards, which makes a more mysterious experience to watch. Lucid dreams, basically, but if
you never had any of those, this video will give you a fine definition of it all.
It's a great track of Moby, one of my favorites due to its calm and quiet nature, the kind of sound you can put in any space to create a great
ambient sound, despite the sad reflections coming from its lyrics while dealing with dreams and failed relationships. Both this video and the famous one
with the eye work in their own special way. If the other is more visually fascinating and enigmatic, this one offers a wide variety of interpretations -
though production values look as a hurried production with ideas borrowed from Radiohead's "No Surprises" (a classic!). 9/10.
Pocket Money (1972)
A big letdown
"Pocket Money" is a huge letdown of a movie and a massive disappointment that neither the greatness of giant legends Paul Newman and Lee Marvin could
save. Here's an affected buddy-comedy that isn't funny neither has some action/adventure to spice things up, and neither some huge drama that can make us
reflect about the lives of miserable hard-working men who need to make ends meet by dealing with some complicated situations. It's a film that starts out
of nowhere and goes to the same route as slow-minded cowboy Newman associates with wise dude Marvin as they make some shady schemes of illegal cattle
transportation from Mexico, hired by a crooked gentleman.
Was there a point to this movie? Maybe for those who can decipher each and every scheme conducted by all the characters, trying to see who's cheating who,
who's getting most benefits and who's being fooled with sick cattle or fooled in the ordeals that can favor a negotiation in unfamiliar places. "Pocket Money"
is basically a talky and cryptic series of dealings with Newman always having the final word on business deals thinking he's the hot shot yet he's always depending on money
he doesn't have and he's not the smartest guy in town, and Marvin always has to save him from disaster. It goes on and on, and you never know what deal was
profitable, and never get a real pay-off where they fight against anyone opposed them.
It's a series of dumb characters in dumb situations, and if the idea
is to make audiences learn about the art of negotiations or how to avoid crooks, the film misses the mark. It's confusing, erratic and excessive withits countless slangs and it's hard to care for the characters. I learn a lot more by watching rounds of customers
rights programs, and I have more fun too, watching clients complaining to problematic businessmen.
Stuart Rosenberg is a great actors director as evidenced in classics such as "Cool Hand Luke", "Brubaker" and "The Pope of Greenwich Village". His
hands weren't erratic with the cast as they delivered some fine moments since Newman plays against type and Marvin is always a real treat with humored
characters (they had a nice chemistry despite not liking each other during shooting); and even the small appearances from Matt Clark, as a cellmate of Newman, or the Mexican baron played by Hector Elizondo are interesting to
watch. Pity the screenplay they gave him was dull, meaningless and in desperate need of countless reworks that probably never happened.
Speaking of scripts, comes the big mistery
of it all: acclaimed writer/director Terrence Malick was the man in charge of such story and we wonder why he touched this unusual material. Malick's films
are dramatic masterpieces and humor is something you don't see there (this came out before his debut in "Badlands"). Why he thought this would turn out
watchable or funny? We'll never know.
A film critic of the period asserted that this film "cheers you up and leaves you feeling better when you come out than when you went in." Only felt better because it was over, almost no cheers for it. 4/10.
The Original Rudeboys: Never Gonna Walk Away (2013)
Memorable due to Barry Keoghan's presence
Dublin acoustic pop/hip hop group The Original Rudeboys video for the single "Never Gonna Walk Away" owes some late notoriety due to the presence of
actor Barry Keoghan in one of his earliest screen credits - that's how I got to know the song. While the music was cool, the good memories and main
attraction of it all is the story told in the music video with Barry playing a teen torn apart from the love and care of his girlfriend as he deals with
an abusive drunk father who keeps demanding for his attention. It goes from romantic lovely moments with the girl, but always move back to yells and
punches he gets with his dad, one of those scenarios that happens in life and movies as well.
The group performs in between sequences, good stuff, but it's the drama/romance that conquers viewers, with all the actors involved but it's Keoghan
who dominates the scene as the troubled kid facing the pressure of life early on. It comes with a great twist. 8/10.
Stand Up (2011)
A PSA with noble values against homophobia
A fine and highly commendable PSA short film related with anti-bully and homophobia on Irish schools, "Stand Up" revolves on a shy boy (Matthew O'Dwyer) who faces discrimination and some harassment after a group of bullies (led by Ciaran McCabe) spot him holding hands with his boyfriend (Stephen Kiernan) on their route to school. Obvious that it comes with a happy conclusion when the whole school show to the kid that they don't support intolerance and that he
can show his love without shame. He has friends he can count on.
Effective with its message and the togetherness symbolism of holding hands, it serves a great purpose for high schools around the world. It was done
with a balance of elements and that might affect some viewers (the reality of it all is often more violent than just pitiful jokes and shaming, of which I
couldn't understand some of the lines all that well). The awareness idea is evident and it's good shorts like these are made.
Also worth seeing for an
early appearance of Barry Keoghan ("Saltburn", "Dunkirk") as one of the bullies. Pay attention to him as he steals the show for a little moment. But the film as a heartfelt
experience is owned by great leading actor Matthew O'Dwyer. He barely speaks in the movie, but all the required emotions of sadness and loneliness are represented by him. 8/10.
Road House (1989)
A fun and quite thoughtful action film
I'm glad that the 2024 remake starring Jake Gyllenhaal brought this original version back to surface, as I had forgotten how fun and awesome it was. It allowed me a great revisit to a cult classic from the 1980's that hasn't lost its appeal despite what audiences consider as valid or not, what has aged well
or not. And it's always great to watch the late Patrick Swayze at the top of his game, one of those amazing screen presences that it's worth seeing even when
the picture isn't so good. This "Road House" is pretty cool and a lot better than it's usually reviewed and remembered. It's a well humored riot, with some
romantic touches, some darkness and thrills, and even a meaningful message on the necessity of violence and its control.
Swayze plays Dalton, a bouncer who solves situations on problematic bars where brawls are almost like a ritual among patrons, and they all happen
for mindless dumb reasons. He moves to a different place, unfamiliar with anybody and just thinks he's there for business as usual to the point of thinking
he'll just observe things, train staff members to handle security and he'll only intervene on worst case scenario. But it turns out that the worst bar of all
and its mess happens for a slightly hidden reason: a local businessman (Ben Gazzara) wants to evict the owner and other small local businesses as he wants to
develop his great real estate project, and since no one's accepting his cash offer for good, he'll make sure they'll leave for worse, no matter the consequences.
"Road House" gives the appearance of being all about kicks and punches, and most audiences see it that way, a non-stop action with some jokes here and
there. It has a mind and heart of its own that it's often overlooked on films of that period, a seriousness that doesn't feel forced and in fact makes the
film a thoughtful experience for those seeking something different on action films. This is also a story about redemption - as Dalton has a past trauma related
with violence - and how a man can make use of his force in an extreme way only when actually needed instead of just showing off his skills. He observes the
scenario, the thugs and their confusion and reacts to their fight, all in self-defense rather than looking for trouble. But it all goes on darker modes
when the rich guy's team goes for more dangerous acts, potential deaths, that Dalton escalates things and with the help of an old mentor (Sam Elliott, lots
of fun and it beats me why there wasn't such a character in the remake).
It's a highly enjoyable film with many memorable sequences (Dalton's first kill was unforgettable), the great camaraderie between Swayze and Elliott;
Gazzara's a little over-the-top as the villain but fun anyway; lovely Kelly Lynch as the love interest; and Jeff Healy and his group performances with the
crowd throwing countless beer bottles in their cage is hysterical - a great proof why the music was better than the ones played in the new version. Speaking
of comparisons, I like both films as they serve its purpose which is mainly entertaining, but this one directed by Rowdy Herrington, that I grew up watching
here and there, conquered me the most due to its serious moments where I could see some reality in it, instead of the show-and-dance of unbelievable scenarios
and actors not getting physically hit (visual editing tricks used to an excessive ammount). 1989 meant business and it's all greatly done. 9/10.
Machine Gun Kelly: 4th Coast Freestyle (2016)
So-and-so, watchable
Black-and-white cinematography, movements going back and forth but without many close-ups as Machine Gun Kelly makes his freestyle act in the video
of "4th Coast Freestyle" of which he's also the director. His usual gestures all around, the rapid fire delivery of his lyrics is a little controlled
here, but nothing much happens in between his act of smokes, movements and rap in front of his huge trademark banner in the background. Considering that not many musicians/performers make
their own videos, this is quite good and well-made. Song is okay but not much memorable if compared with other efforts of his. 6/10.
The Hit (1984)
Excellent crime drama with loads of humor
An interesting, solid and unusual combination of elements and genres, "The Hit" succeeds in everything is set out to be: a dramatic crime thriller
filled with humor, levity but also some darkness and mystery, touching with worldly and spiritual themes of redemption, acceptance of things to come and
difficult jobs to be done. In his second cinema feature (that feels like a debut since his previous film was made a decade apart and no one remebers it),
director Stephen Frears proves why he's one of the greatest actors directors of all time, bringing quality performances of his cast (veterans Terence Stamp
and John Hurt, and then newcomer Tim Roth) and the different characters they play. From then on, Frears launched one great experience after another, which
includes "My Beautiful Laundrette", "Dangerous Liaisons", "The Grifters" and the list goes on.
What makes of "The Hit" is a fascinating and unique experience is the tone given to its drama. It starts out as a very serious story as we follow
former criminal gangster Willie Parker (Stamp), who lives and hides in Spain after ratting out his comrades to justice ten years earlier. He's found and kidnapped
by two hit men - a quiet but deadly veteran (Hurt) and a loudmouth and inexperienced junior (Roth) - whose task is to cross the Spanish border and bring him to
Paris where he'll be sentenced to death by his criminal peers.
The twists and turns come from unusual but poignant humored bits as Willie questions everything
about such kidnapping, at times accepting his fate and other times finding ways to escape from both men; add to the mix (and to the road movie which shows
great beautiful Spain locations), a Spanish young woman (Laura Del Sol) involved with an acquaintance of Hurt's character who needed to be "retired" from
view. What more can possibly happen to this bizarre quartet formed by a repentful criminal, two dangerous men with their mission and an innocent woman?
The investigation of a police inspector (Fernando Rey) following whatever trail they leave behind, going from people getting killed or the recklessness of
Roth and his Myron character bringing attention to the group.
It's a very exquisite film as it brings a wide variety of different ideas and meanings, that outgrow the defined idea of bad guys and their ethics.
It can be seen exactly as that, but also as a reflection of UK policies under Thatcher (as Frears 80's movies were seen); or thought about different stages of a personal and spiritual
evolution where one man already achieved a learning process (Stamp) and the others are trying to understand him and his actions (Hurt and Roth), and how they work through
their criminal codes (Myron wants to learn to be like his boss but the man only wants to get the job done). There's something deeper hidden inside "The Hit" that I haven't
touched despite several views, and that's why its appeal speaks volumes, in finding a higher philosophical meaning to it instead of just watching their erratic journey.
It's also worth viewing time and again for its performances, as the zen qualities of Stamp and the wild (and hilarious) chaos of Roth are mediated by the silent, cold-blooded
character played by Hurt, as he chain-smokes and hides behind sunglasses. None of them are predictable through action, the danger can came from all of them at any
given time, but it's Hurt's character vibes that gives some chills at each direction they go through countless roads. The few disappointments come from a less
thrilling ending, and the way the police inspector is not much of an important character in the way it should, since it could increase tension to everything
- veteran actor Fernando Rey was barely given lines in it.
Here's another great inclusion in the Brit crime genre of the 1980's with plenty of qualities, and one of those it's always fun to revisit just as "The Long Good Friday" and "Mona Lisa". The somber music theme by Eric Clapton is highly memorable and stays with you for a while. 9/10.
Lethal Weapon 4: Cast and Crew Interviews (1998)
Jolly interviews from the "Lethal Weapon" family
The memorable bit from the series of interviews with the main cast of "Lethal Weapon 4" comes from Joe Pesci's segment where he talks about how
he composed the Leo Getz character and his routine of "Okay, okay" for all the films, and also, when out of the blue, he calls Mel Gibson to talk on how Getz
evolved in the franchise, and Gibson replies as if playing Martin Riggs, who dislikes Leo but accepts him because the man follows him and Murtaugh all
around. It's a quite unusual happening on making of interviews, unless promotional interviews with reporters which usually aren't shown on DVD/Blu-Ray.
As for the other interviews, which also has director Richard Donner and producer Joel Silver, it's more of the same for those kind of specials where
everybody enjoyed the experience, the family they formed during filming - greatly evidenced on the end credits of the film where pictures of all crew members
and actors are shown. Happy moments all around, nothing to complain about it. 6/10.
Dangerously Close (1986)
Painfully silly and obvious
"Dangerously Close" is one of those silly flicks that are almost enjoyable as it knows how to give us some tension while treating issues revolving
safety during high school years. It talks about a troubled prep school that uses of its own student body to enforce laws on reckless students who destroy
school property, vandalism and robbery among classmates. But it's a very obvious film where you know exactly where the threat comes from, therefore all the
tension required disappears in thin air and you keep on waiting for its end just to confirm your predictions and ease the pain after the painful misery of
everything.
One-dimensional characters from the start, which is acceptable to audiences who like those kind of devices. J. Eddie Peck plays the nerd-looking and
responsible good guy who is torn apart from his punk rebel friends as he's invited to join the security group formed by John Stockwell character, one of those
rich kids who likes to cause controlled mayhem in order to enforce law and order. Truth is that group runs secret attacks on the "undesireable" students
after school hours, late at night, where they make a trial mockery, convicting those rebels and teaching them some hard frightening lessons.
It's not like all students like a fascist kind of security enforcement, there's opposition even from a teacher, and Peck's character (editor of the
school paper as well) is used by the others to present a less negative view of the infamous group. Doesn't help much, as their obscure attacks becomes
more and more dangerous, and when students start disappearing from view, our hero becomes intrigued.
Everything is so obvious with "Dangerously Close" that it's annoying. While you I liked the limited acting of everyone involved, but they're all playing
a formula (the good guy is good and without flaws; the bad group is bad but it comes with a redemption; the punk friend is only there to cause riot and bring
a humorless humor; and the pretty girl is there to cause a rift between the new buddies). Kudos to Stockwell for picking the most "challenging" of the roles,
but he's also one of the screenwriters so he knew what he was doing and it's a nice way to see him outside of "Christine" (1983) or "Top Gun".
But I couldn't stand
each and every action and fighting sequence. Abrupt and ugly editing cuts where it's hard to tell why a beaten character is up and without injuries when there's
change in the shot, or why
they move to a different direction; the head of security (or school director, the movie wasn't clear about his function) can physically assault a student
without consequences; the local police was a joke; the series of bizarre things makes it all look weird and slightly funny to follow.
Besides the "entertainment" parts, was there an actual good discourse while dealing with how students can secure their own environment and help
themselves and the community? Not really. The adults in the room were so absent in this utopic dream that I guess it only proved that teens shouldn't be
allowed to enforce anything but their proms. It was basic a clear case of right versus left, and it's easy to tell apart who's right and who's wrong, and
the only thing missing were the uniforms. 4/10.
Duran Duran: Notorious (1986)
Classic Duran Duran
A cool with its exuberance, fast editing and its combination of color and black-and-white captured in a difuse manner,
the video of "Notorious" is best remembered mostly due to its song, from album of same name back when Duran Duran was a trio.
Great track (from a quite underrated album), but clip performances are difficult to truly grab viewers attention unless if there's something else
within the act of playing instruments, dancing and mimicking the song. Besides song and dance, nicely performed by the group, there's
the presence of female models, including an early appearance from Christy Turlington.
All in all, the clip doesn't look too dated as their early entries but it's tough to beat the quality uniqueness of "A View to a Kill". 8/10.
Everlast: So Long (1999)
Weak use of a nice concept
This clip of Everlast had one of those great admirable ideas of mixing a song performer interacting with clips from a movie where the song is part
of a soundtrack. I don't think it plays on the film in question, "End of Days" starring Arnold Schwarzenegger and Gabriel Byrne, though it appears on
the CD, and the rapper had this exact clip that uses some of the film sets to compose its performance. I usually like those music videos, but this one
was ineffective with nearly everything.
Weak music and Everlast is only a mere observer of the conflict of the police officer (Arnold) trying to save an innocent
woman (Robin Tunney) from the hands of Satan (Byrne) as New York city welcomes the year 2000. He appears on the front stairs of the apartment where the
girl lives, inside the subway where she has the frightening vision of the mysterious smiling albino man (Victor Varnado), and also the church where it all
ends in the film. We don't have a real interaction where he could physically interact with the characters, neither he affects the story, and it was missed
chance - or maybe because director Peter Hyams wasn't involved with the clip.
It's only slightly interesting as it knows how to sell the apocalyptic movie. Other than that, there isn't much to admire here. 5/10.
Rob Zombie: Superbeast (1999)
Lousy "music" video
Only saw it cause it was one of the many extras present on the "End of Days" dvd, and what a weird-looking, bizarre sounding music video. It's a mix
of a terribly filmed performance Rob Zombie and clips from the film (of which I'm very favorable). Images flashing non-stop, so stay away if you're sensible
to that kind of imagery and trust me, you will feel sick watching it, aligned with a "song" that doesn't appeal in any possible way. The debate regarded to
being a Rob Zombie or not is not a matter of concern as there were possibilities to become a watchable music video or even have something worthy listening.
It had nothing worthy of view. 2/10.
Too Little, Too Late (1987)
A different perspective on AIDS and families
"Too Little, Too Late" takes on the subject of parents caring for their sons, victims of AIDS, during their final moments of life. It's a
testament of love, courage and devotion that goes on a different route of what happened to many men, women and children who suffered with the disease
when most parents shunned away from them, out of fear and ignorance.
While present on many good films about the topic, Micki Dickoff's video documentary gives us the reality of such family dynamics through a series of
mothers sharing their stories about their sons, how they dealt in knowing they were gay and end up becoming sick, moving on from small prejudices to
embracing, helping and loving them at their final moments. It shows the mothers experience on the group MAP (Mothers of AIDS patients), where they helped
each other in coping with their grief; and also there's a support group embraced by a female guide/director revolving on patients whose family members
rejected them or showed up too late to offer some comfort and help. Plenty of activism against the disease was also formed by such encounters; and we
also have two doctors who educate a little about AIDS and show their experiences while dealing with different families than the ones featured here.
It's a difficult view but rewarding as it shines a great light about special bonds that can never be destroyed. It showed true noble values about
caring families, their struggles in embracing their loved ones when they needed the most, without judgments or discrimination. It worked for me as I
watched something different than the certain "norm" as related to that tragedy; the parents in this film should be the norm back then. And there were
so few of them willing to expose themselves, also facing prejudice in their neighborhoods and jobs just because they lived with someone who had AIDS.
The light of hope amidst the darkness that I like to think it helped more parents in reconnecting with their sons or other suffering parents, or also
their son's partners, as evidenced by one case where a lady accepted her sick son and his partner in her home - possibly the case that inspired the director
of this film to write "Our Sons", starring Julie Andrews and Ann-Margret. Stories like this make us think less negatively about the dark period of a deadly
new disease. There was kindness, care, love, respect and closeness to some of its victims, and while the title ponders about the timing and quantity of those qualities
and affection, it's best to think that it was better than nothing, which was almost a general rule. 8/10.
Lulu Santos: Aviso Aos Navegantes (1997)
Great video and song about communication problems
"Aviso aos Navigantes" is one of those songs that most listeners don't associated by its title but rather with a key phrase from it which "S. O. S.
Solidão" ("S. O. S. Loneliness") becomes very memorable. While Lulu Santos electro/pop song gives us the idea of a lonely sailor lost at sea trying to establish
communication with anyone over the radio, the video moves to another direction that gives a similar effect to make some reflection: the internet. This was
done before the world wide web become the sensation it is just as much that internet song by Gilberto Gil (though it sounds a little dated now). Ahead of
its time and must say, it'll always be convenient for navigators of the seas and navigators of the web.
A series of effects dominate its visuals by showing Lulu being out of focus, slightly distorted images as if he was dealing with signal problems.
It's impressively well made considering the period, capturing the kind of computer imagery of that time, and it greatly sells the song while dealing with
the exisiting distance of human communications, wheter being through radio form (ship/boat), the internet and phones, and even close social relations.
He tries everything to establish some form of contact yet all he hears are the repetitive echoes of himself saying "S. O. S Solidão". It amazes me how
he could predict this idea of the world during internet early days.
The song has a nice beat and everything works. It's a favorite of mine to hear now and then, except on one particular radio station that edits
some of its instrumental bits (Alpha FM, I'm looking at you!), it was a lame editing job. But when they play, I listen. 9/10.
Paula Toller Feat. Donavon Frankenreiter: All Over (2007)
A relax song moment
A great and lovely duet performed by Paula Toller and Donavon Frankenreiter, "It's All Over" combines two different artists with their unique
particular styles that made a nice, soft blend to the senses. Though made in Brazil, it's sung in English so to anyone outside of Brazil here's a great
chance to hear Kid Abelha's vocalist singing in your language - she has a very melodic voice. As for Frankenreiter fans, I'm curious to know if they
know this song, if it had a life elsewhere (it had a little run at the time of its release, playing here and there).
The video makes a mix of animated and real sequences of a beach, the ocean, guys playing soccer, along with Toller & Donavon performing the song on studio,
as well some quiet moments of the female singer. It all creates a mood for peaceful and quiet days, set to make you enjoy time and feel relaxed despite
the lyrics idea of a break-up song, moving on to something different than what was experienced previously. Unusual combination, but it works.
Kid Abelha E Os Abóboras Selvagens: Alice (Não Me Escreva Aquela Carta De Amor) (1984)
Underrated track
One of the many hits from their album back when they were still known as Kid Abelha e os Abóboras Selvagens, "Alice (Não Me Escreva Aquela Carta
de Amor)" end up becoming a quite effervescent song over the decades. It's pretty good but also very underrated as it didn't have much a life of its own
in following decades, if compared with "Fixação" or "Como Eu Quero" - wasn't even played at their 2003 MTV Unplugged. But I like it's fun rhythm and the
lyrics.
Another case of performance video, nothing so special except for Paula Toller's hairdo in a different color instead of her memorable blonde hair
(plus it's shorter), and Leoni as part of that formation (I got to know Kid Abelha only as a trio).
Toller's act singing very close to George Israel makes it all cool to watch, as they always did. Everybody's playing hard and having lots of fun with
each other, dancing and moving around. 7/10.
Capone (2020)
A complete failure
The universal lack of acclaim "Capote" is totally deserving and not exaggerated at all. Josh Trank's film is bad, really bad. Despite being done to
his exact specific, after the infamous "Fantastic Four" and his fights with the studio, the film doesn't reward the viewer with anything, doesn't make
us curious about the myths on controversial criminal Al Capone, and only alienates all kinds of audiences: crime/drama/biopic fans; Capone enthusiasts
or simply the people who want to learn about the man and his dangerous legacy.
I knew this film would be about the final days of the man rather than
the glory and fall, but even so, it does not have the great dynamics of similar biopics where we witness the fame and power of a personality and how it
collapses in a drastic manner. But it was so down on everything, confusing with its countless ramblings of a man suffering the effects of syphillis,
getting older and crazier by the minute, that it's hard to set apart what's real and what's fabricated.
And not even Tom Hardy in the title role saved this film, though there are so nice touches in his thankless performance that makes it slightly
enduring. Buried under a heavy makeup and a large stomach, Hardy succeeds a little with the transformation that at times, on constant pains and harsh
symptoms of countless diseases, feels like he's about to turn into a vampire due to bloodshot eyes brightened by his pale face. He truly shows a
physical decline, knows how to work with the detailed obstacles as a suffering man who can barely speaks, but he's not given a substantial material to
work with. It's one of those unusual performances that it's hard to define greatness or failure.
"Capone" could only succeed as an effective film if following the same designs of biopics such as "The Iron Lady" and "Citizen Cohn" whose main
characters go back and forth between their final sick days and what made them remarkable to the public. The flashback device was terribly used since
it's all shown through the disorientation of a disease, instead of a vivid rememberance where he dominated the crime scene of Chicago during the
Prohibition days. Besides all the difficulties he brings to everyone around him, there's also the FBI bugging his phone while trying to uncover the
disappearance of millions of dollars; a distant young son who keeps calling him for no reason; and the ghost-like appearances from Matt Dillon's
character being the man's only interesting interactions yet also confusing.
A tedious presentation of everything and not a single scene was worth remembering or worth seeing, unless you like to see tough guys becoming
vulnerable and weak as they dirty their pants and talk incomplete sentences. Also one of the worst uses of sound and music, impossible to hear anything.
A painfully exhausting experience that won't reveal anything about the boss of bosses, and as much De Niro's portrayal of Capone in "The
Untouchables" and that film take many liberties with actual facts, at least it gave us something worth seeing and worth researching about how that
figure become one of the most well-known criminals of all time. 2/10.
Reunion (2024)
A little nice whodunit
A decent and enjoyable whodunit that has its attractive features (the cast, mostly), but it only works if you're not much demanding on the plot and some of its
loose ends. I liked it, as there was a fair share of laughs and the mystery was quite involving, but it's one of those things I had to lower my
expectations for a little while. If looking for a "Knives Out" kind of experience, better look elsewhere. "Reunion" is more about the awkward humor
that comes in a high school friends reunion than it is actually about solving a murder case on an isolated mansion. But the detective story is there
in between a series of confusions, attempts of rekindling with old crushes and letting past high school traumas come to surface.
It's hard to go wrong with those kind of films but when the intelligence is a little limited or the excess of cliches and characters stereotypes
take over, it can be a problem. The moments at the party were a little annoying and most of the characters fun looked fake, abruptly cut here and there
as if the director didn't know what he was trying to show. But when the crime happens and they all begin to investigate, it gets better and fun to watch.
"Reunion" hits a different and positive note as we don't have an outside detective looking for clues, but instead all the characters try to find
who killed the host and the reasonings for it. Not exactly a jawdropping mystery but it's amusing anyway.
Its quality lies on the cast, all comfortable in their roles, specially the shy cop played by Billy Magnussen, and Jillian Bell as the least likely person to attend such party, as she was
never part of the gang since she was a bully victim. Her creepy character is hilarious and steals the show. Didn't exactly like the loudmouth Ray (Lil Rel
Howery), super annoying for the most part and only having his moments of triumph on the bathroom scene and at the end. He just tries too hard to be funny.
If the idea is to kill some time with some laughs and go for a detective mode while trying to solve the case before anybody, "Reunion" serves well exactly
for such purposes and nothing more. 6/10.