"Comi uma muçarela da Parmê e em 30 minutos passei mal"
"Todos os meus amigos de infância viraram bandidos"
Nonchalantly captures coexisting realities by simply observing the overlooked social staple of the barbershop. It's Rio in all its authenticity, for better and for worse.
I've seen enough lukewarm takes on this to know what I'm about to say is not a consensus, but I found this to be genuinely breathtaking. Ridiculously beautiful animation that you can just tell was adapted from a graphic novel from all of its delicately still compositions, a hugely stirring score and a narrative that inventively combines Pixar-ish whimsicalness with profound melancholy to earn one of the year's finest and most affecting finales. The way the protagonist reacts, in almost disbelief, to being extended the littlest of sincere affection after a particularly rough stretch: I felt that.
It's what it is. It's what it's gotten to. Sinful and sorrowful.
An eulogy to gangsters that interrogates the moral complexities of unwavering, soldierlike loyalty in an universe where double-crossing is the way of life and how by holding on to that noble subservience the most unspeakable violence becomes praxis, alienating its participants from everyone outside of it, including their immediate families.
The third hour drives this point openly, and it's remarkably poignant at that, but what really justifies its…
An extremely beautiful, understated, surprisingly non-self-centered and somewhat frustratingly short piece of faith manifested into moving art. Bound to be received divisively as it's made for IMAX and with a deeply emotional potential that basically can only be catalyzed with a previous devotion to either Kanye, his body of work or, you know, God (preferably all three). The transitions are all clunky, but the last three sequences are remarkably gorgeous. Let it be known that in a year of great cinema nothing got me as much as that rendition of 'Street Lights'.
How y'all hanging? Me, personally, am doing fine. No need to speculate on why I'm watching something like this again, as there's clearly nothing happening. Anyway, good movie, GREAT eyebrows.
Litmus tests are by definition flawed to capture the nuances of any given context, and it's probably worse when that format is used to split people in two solidified categories. Now, every time I see a Truffaut film' I think how preferring either his body of work or Godard's says a lot about one's taste (and maaaybe their personality as well). This is just a marvelously breezy comedy that switches gears between Pink-Panther-like physical humor and beautifully wistful romantic melodrama in a matter of seconds. The editing is insane.
- Makes little sense and it's only sparsely amusing.
- Best moment was when my little cousin who picked this told me that this Christmas he's going to wait up till midnight and hide to catch Santa and give him a hug, which I thought was pure.
- Gotta give credit to the PR people at Pentagon whose work is year-round and inescapable.
- Someone give a leading role to Vella Lovell please.
- The out-of-nowhere Blues-Brothers-type musical number is good.
¯\_(ツ)_/¯
Almost everything is in place to made this what everyone says it is. An enormously aesthetically accomplished melodrama designed to convey all the unscrupulous ways in which the patriarchy demolishes women's dreams, thwarts their individuality, controls and violates their bodies and then still brutally silence their stories, all through the poignant framing of devoted sisters longing for each other's care. It's just that something simply doesn't sit right. The duplicity of its period-piece formal elegance, which include a ravishing…
Hanging on to functionality by a thread here, so it took me three days to finish this. Strangely enough, if there's anything that could ever benefit from being watched under those circumstances, it's this. Stilted and wacky by design, but also deeply heartfelt and lifted by a compelling portrayal of an incredibly emotionally vulnerable protagonist, which are features that shares with 'Kumiko'. Had no idea why people said it was so depressing until about 2/3s of it, then it hits.
Some movies are made to emulate books, be it an airport page-turner, a quirky collection of shorts or an abridged retelling of any given true story. It's not as much as adapting them specifically, but actually translating their 'feel' and storytelling language into cinematic form. Films like 'Days of Heaven' seem to adapt the unadaptable. The literature that eclipses the creative enclosure of narrative into an intangible beauty of the mundane, striking deep and mysteriously into a sensibility its solitary…
The dad movie event of the year didn't disappoint. It's surprisingly really funny, mostly due to Bale's spirited, charismatically zany performance, and all the racing sequences that naturally make for a huge portion of the picture are spectacularly cinematic, with incredible cinematography and sound design, on top of being massively engaging. It's also an absolute empty shell of a film that's plagued with the same issues that conventional biopics continue to employ. One in particular, the perpetually underwritten token female…
It's fun! I shouldn't be surprised a 'Charlie's Angels' movie is fun, but the trailers were bad and this thing starts with clumsy action, an awkward stock-footage title sequence and extremely bland visuals. It picks up from the bowl-cut set piece on, making better use of its locations, with delightful chemistry between the leads and a plot, that if not inspired, at least moves briskly and creates the delectable scenarios for the all spy stuff. Paradoxically, feels like it's going…