Christofer has written 21 reviews for films during 2015.

  • Wild City

    Wild City


    Ringo Lam's ultimate city symphony.

    Although he has been absent for the past 12 years, there is only one fundamental aspect of Wild City that would indicate the long hiatus: it is an old man's film, it is, once again, about the weight of time and changes in Hong Kong that essentially keep it the same, with faults that appear less and less circumstantial.

    Nonetheless, Lam does not let the lost years transpire on the screen, neither does he attempt…

  • The Naughty Stewardesses

    The Naughty Stewardesses

    I was not exactly expecting proto-Showgirls from an Al Adamson/Samuel Sherman production entitled The Naughty Stewardesses containing confessional monologues such as "See? Life to me is one big orgasm, getting stronger and stronger, I guess that's why I eat so many men". Only in intent, not result, of course. There isn't a hint of Verhoeven's elegance on display, or even decent craftsmanship, for the most part. This is Al Adamson, after all, and I would not dare call it a…

  • The Vatican Tapes

    The Vatican Tapes


    The ugly and often unpleasant counterpart to Blackhat. If Michael Mann might have attempted to glimpse God by submerging recognizable tropes of his cinema into a world on the verge of indifference towards human perception, action, existence, if his characters eventually escaped their usual trappings getting lost inside a system fully defined by fleeting and blurry information materialized in digital imagery, Mark Neveldine goes the opposite path, certain there is nothing redeemable to be taken from it.

    All kinds of…

  • Two in the Shadow

    Two in the Shadow

    A moderator has removed this review.

  • Massacre Time

    Massacre Time


    Le colt cantarono la morte e fu... Tempo di Massacro (also known by the less spectacular English titles Massacre Time, Colt Concert or The Brute and the Beast) is the first western directed by Lucio Fulci, breaking a long series of comedies (some in the mold of other genres, such as the musical and the spy movie) he helmed between 1959-1966 and also the first film (among those I managed to watch) in which the material allowed him to handle…

  • Pasolini



    "It's you from the dream, apparently idealized, but actually real."

    My response to Pasolini the first time around was very mixed, impressed by some scenes but somewhat perplexed by its dispersiveness, I was sure the slight disappointment came from my lack of preparation for what is offered here, and revisiting many of Abel Ferara's films in the past few days certainly helped me seeing it from a different perspective. That surprise with loose ends and fragmentation was, predictably, unjustified, even…

  • Foxcatcher


    Actors in the service of make-up, everything in showy "restraint", a lot of empty space in lengthy, static, colorless shots with little action, so the dialogue is what matters, when comprehensible, to show us American patriots are degenerate creeps, delivered in between minutes and minutes of people staring and doing nothing.

  • The Last Airbender

    The Last Airbender


    "There are reasons each of us are born. We have to find those reasons."

    The 100+ million dollar blockbuster just found his.

    There hasn't been an action/adventure movie as beautiful as this since Fleischer's Red Sonja.

  • The Pact II

    The Pact II


    Certain acclaimed horror films from recent years (and most of the others, less fortunate ones who go with the tide), supposedly character-driven, turn every ellipsis into a jump to the next plot-point, annoying scream or old and tired scary effect, while suppressing anything that could happen to people who, you know, do not live inside a movie, according to the necessities of the writer. This is the exact opposite.

    Not that it manages to avoid old and tired scary effects,…

  • The Counselor

    The Counselor


    I already liked The Counselor a lot when it came out in the theaters, but this Extended Cut is a big improvement. I felt that specially in the scene with Bruno Ganz selling the diamond, an excellent piece in itself that was cut in half and missed stuff which also gave more consistency to the first conversation between Fassbender and Bardem, right after, and even the ending benefits from it. So, not only the longer dialogues make the overall structure…

  • The Duke of Burgundy

    The Duke of Burgundy

    About 10 minutes into this thing I was hoping that with a premise already established the director would quit the bad and unconscious musical montage he was doing since the opening credits and start giving us a film, but no, it does not get better. What Jesus Franco would resolve in one shot, Peter Strickland breaks into ten, and manages to take any meaning away. There are no scenes, there are exhibitions of decór, numerous gratuitous details, in tracking shots…

  • Invaders from Mars

    Invaders from Mars


    One of my favorite scenes in Don Siegel’s sci-fi masterpiece Invasion of the Body Snatchers happens when the characters are running away from the pods and hide in the protagonist’s office, for the second time in the movie they will take a look through the window and observe the center of the town, to know if they are safe, and it is the same shot we saw the first time, but it lasts a few seconds longer, and now, after…