It has all the strength and elements to be a brutal thriller, in a way it is atrocious and unforgiving and difficult to see, like all Fincher films the suspense overflows the screen and has a photograph of which it is dangerous to fall in love, it is cold, claustrophobic , depressive and dark, using the perfect colors to tell the story, has Fincher's postmodern touches and we see it everywhere, presenting a society in chaos and driven by dehumanization.
Daniel Craig looks very comfortable here and that is a problem, his performance is good but he is not the one for the character he is playing, on the other hand Fincher misses several factors to make this film another of his masterpieces, the climax of the movie is not as satisfying as the rest of Fincher's movies, Stellan Skarsgard abusing Daniel Craig is not as surprising as Brad Pitt asking what's in the box at Seven or Edward Norton facing Tyler Durden at Fight Club.
Because there was nothing on the billboard that caught my attention, (Sonic and Just Mercy) i decided to relive this emotion, I had read a lot of reviews that said that after the second visit it became boring and monotonous, for me it was not So, it was even more captivating to be able to see some details that I could not capture on my first visit, just like the first time, my skin was bristling and I was on the edge when "I'm Just Poor Wayfaring Stranger" sounds while the camera shows the face of these soldiers who are feeling what the lyrics of the song transmits, fuck i cry again watching this scene.
8MM (1999) 7/10 I Do not let a rating of 19 in Metascore discourage me to see this, it was a surprise nothing pleasant but in the good sense, I really expected something worse, I can understand why the movie has that cold reception and bad reputation, it is a difficult thriller to digest that tries to be Seven but fails because Schumacher does not know how to take the film most of the time.
Being John Malkovich 10/10
Damn, is the most surreal and dreamlike movie I've ever seen, watching a movie at 4 in the morning has always been a challenge for me, but this movie was so great that it kept me awake until the last moment and now I can't stop think about what I just saw.
A morbid satira, a lot of smart dark comedy and Jack Black is perfect here.
There's Something About Mary(1998) 7/10
As Roger Ebert Said about this movie:
"I'm having a physical reaction, not an intellectual one. There's such freedom in laughing so loudly. I feel cleansed."
Pride and Prejudice (2005) 10/10 To balance the day I had to see this movie, on the other hand this is an excellent portrait of its time, of the values and rules that govern its society, accompanied by impeccable artistic decoration and a complex and intelligent history.
Although it is not the deepest portrait of Alzheimer's in films, it manages to create a great reflection on the disease, it is a film that is really interested in the mental deterioration of patients and show it in a realistic way, the film edition is scattered and confused, sometimes you are here, other times you are there, this makes sense since it expresses how Alice feels, confused and without knowing how I get to where she is standing.
It is probably the weakest Fincher movie from Panic Room, the story is unraveling without the depth that characterizes the twisted stories of Fincher, the climax was totally unsatisfactory and weak, the last 10 minutes of the movie were unnecessary and explanatory, for At least if they had told us something we did not know, the film made clear to Amy's psychopathy, but Fincher explains it to those who have not yet understood in these last sequences, however the film is captivating in many ways if we do not lend Attention to some really silly and meaningless plot twists, it creates a twisted and intelligent story about marriage and society through the story of a great disappearance and the performance of Rosamund Pike is completely psychotic.
The King of Comedy 9/10 I can not understand how this film was the one that had the least impact of all the collaborations between De Niro and Scorsese, this film is subversively intelligent and satirical, uncomfortable and ironic laughs and a scathing criticism of the show's star worship.
Second movie from this year's New York International Children's Film Festival:
Fritzi: A Revolutionary Tale (2019), 9/10.
I will be nominating Sputnick for the Best Good Boy Oscar come 2021.
Killers from Space (1954), 1/10. The Film Crew's commentary? 10/10.
The film constantly breaks with its own internal logic, however you can notice a good direction work in several specific scenes, such as the initial sequence that creates an incredible trick to make someone feel there but without we can see it, just feel it , this same resource is later used brilliantly, the performance of Elizabeth Moss also gives many points to the film.
THREE COLORS: RED 10/10
There’s at least one certainty to gather from the “Color” trilogy: it is the work of a man with such a deep interest in human interactions that it almost overshadows his artistic talent, which is saying a lot.
The three stories Krzysztof Kieslowski tells us go beyond the usual narrative techniques, they don’t obey to any tropes: people act, interact or react, provoking and undergoing the chain of events that go, and no matter how unusual some situations feel, and some artistic licences distracting, the “Blue”, “White” and “Red” films work. Maybe because there was a sincerity in the making. It’s an epitaph work not just by the laws of Providence because Kieslowski died two years after “Red”, but also because the director (according to his editor Jacques Vitta) felt he had outdone himself. It’s narcissism when it encourages people to go on, humility when it tells them to stop.
Anyway, what is cinema about if not telling stories? What are stories if not dictated connections of various events in a pattern that either lead to a particular statement about life or is life itself expressed in style. The former better be spectacular or entertaining, the latter deep or artistically viable. If you can’t understand it, at least enjoy it. And on that level, every film of the trilogy follows a direction which we never quite get it until the end, but they have such an attitude, such a style and a mature patience that we’re as intrigued and fascinated as with a Bergmanian masterpiece. In “Blue”, Juliette Binoche buried her grief in the ground of a new life only to see the past reemerging as a lantern of hope, in “White”, a seemingly Polish loser, beat the adversity and could reconquer his girl by toying with morals and yet never turning into a bad guy.
The two films supposedly treated the themes of Liberty and Equality (a reference to the French flag) but in my reviews, I insisted that these interpretations mattered less than the narrative achievements. So in “Red”, the point isn’t Fraternity, or passion, or love or anything to associate with the color -though the chromatic leitmotif is more prevalent in this film than in any other- but it’s about the fascinating way lives can connect (well, it's still about love) It starts with a phone-call that takes us from the caller to the other line, going through all the cables and electric devices, in a time where cell-phones weren’t a commodity. The film shows people living through these connections and yet having lives of their own. Valentine, an aspiring model, played by the beautiful Irene Jacob, regularly calls her possessive boyfriend in London. Her neighbor, Auguste, a law student, calls his girlfriend who handles a weather reports “hotline”, and their conversations are eavesdropped by Joseph Kern, Jean-Louis Trintignant as a retired judge who is like a freelance Gene Hackman from “The Conversation”.
Valentine meets Joseph when her car hits his dog. On a side-note: I wonder if Inarritu was influenced by the film for his “Amores Perros”, an interesting coincidence since he also walked in Tarantino’s footsteps with “Pulp Fiction” (both Tarantino and Kieslowki were nominated for Best Director in 1995). So Valentine, a soulful young beauty, can’t accept the way Joseph disrupts in people’s lives and listens to all their secrets, she despises him and is ready to alert his neighbors until she finds out one of them is already spied by his own daughter. These details don’t matter, I’ll stick to the essential. What is interesting is the way the two people whose only connection is a dog and seem mostly concerned with people they have on the other end of a line, end up finding common denominators and a beautiful relationship unfolds as the fruit of many hazards, some preposterous, some unbelievable. It’s just as if destiny worked in the oddest way in order to make people meant to each other to meet, and the way, one’s failure can be the basis of someone else’s success as if love would always find a way in the great cosmic scheme of things.
Joseph’s failures find a strange echo in the storyline involving Auguste, the aspiring lawman, it seems that everything that happens to him, happened to Joseph, as if the judge’s destiny was a draft to something more beautiful or as if Kern, lucid about his failures, knew they would eventually influence one destiny positively. Kern isn’t just a passive observer, he’s a God`like figure without any pretension whatsoever, he listens to people, cares for them, observes them, and in his own intuitive ways, manages to provide some guidance, in the name of that love he seems to be lacking of. And I guess, there’s something of Kern in Kieslowski: that capability to listen, to show, to inject a certain truth even in the oddest situations (“White”), the most tragic (“Blue”) and the most random (“Red”)... and maybe we believe them too because besides the director’s sincerity, there’s a sincerity in the actresses' performances and I confess I enjoyed “Red” as much as “Blue” for the beauty and quiet intensity of their female leads (Delpy was more of an overarching presence in “White”). Julie needed love in "Blue" and so did Valentine, but Karol’s story was less driven by love but a revenge and had more masculine and somewhat selfish undertones
To conclude, this is a trilogy that paints a remarkable picture of love (the common denominator) through three different dimensions and where “Red” has an edge over its predecessors is the incomparable presence of Irene Jacob and the character of like Kern who might be the screen-incarnation of the genius behind the screen, something exemplified in that unforgettable ending where he sees the faces of many protagonists from the trilogy (why it happens is a twist I won't reveal), freezing for a last moment, as to tell us goodbye. And after the powerful red frame on Jacob's sad face, I love that serene and humble smile of Trintignant, perhaps the reflection of Kieslowski's own satisfaction to have completed his three-part masterpiece, one for the ages.
The story is captivating and the cinematography is beautiful, striving to make the film more artistic than necessary, the story stops being so exciting and captivating after having spent the first 45 minutes, the final act is the weakest, Ray Marcus It may be one of the stupidest villains in the movies.