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  • Navalha na Carne

    Navalha na Carne

    ★★

    It is as though d'Almeida wants to be seen as an impudent cross between Pedro Almodóvar and David Lynch (or the enfant terrible of Brazilian cinema), but his only "talent" is turning the sophisticated rawness of the original film into the trashy vulgarity of a cheap, stinky motel.

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  • Matou a Família e Foi ao Cinema

    Matou a Família e Foi ao Cinema

    ★½

    Either d'Almeida didn't get one thing of Bressane's subversiveness or had no idea how to remake it or adapt it, because what he conceives here is just trashy exploitation that objectifies women's naked bodies in endless erotic scenes while hypocritically pretending to be something else.

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  • The Handmaiden

    The Handmaiden

    ★★★★½

    Park Chan-Wook explores the power of narrative (the way you tell a story and its ramifications), creating another astounding visual spectacle full of dark humor, sexual desire, betrayal and revenge, with intense performances and a wonderful production design, editing and score.

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  • Us

    Us

    ★★★★½

    If there is something more terrifying than alien body snatchers, it is our own dark sides crawling out of our depths to take our places in society, and Peele creates an intelligent allegory replete with symbolism of how today's 'US' is making this red chain of madness all the more possible.

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