Reviews by fernando

Tom Ford and great cast makes this cobfusing thriller flow. The rural noir stuff is ok thanks to Gyllenhaal nerves, Shannon southern ruggedness and 'cold blood' psychos.

Recife es un mundo aparte en Brasil, un Rio acotado, con supropia historia paralela a la historia del Brasil. El cáncer de Sonia (está excelente) la marca como resistente y como egoista. Es un ser contradictorio a pesar de que al final hace el gesto heroico contra la gran empresa.

Shadows of Greyesque stuff in Las Vegas with Shannon as a passionate chef, Nyqvist as the perverse elegant french. Imogen Poots is one of those undistinguished beauties.

The promise of a good thriller is blurred by a psycho alcoholic patetic character. But Emily Blunt dignifies her.

In episodic films the first and the last stories are the best. No exception in this film. Women are discriminated or at least misunderstood, in subtle ways, even between theirselves as the teacher and the cowgirl.

La philosophie quotidien. Every fact has to deal with future in an illuminating and harmonious way. I like when Isabelle tells the priest that he rmother encouraged her to become a philosopher and then he says in the church that 'to be a philosopher was a wonderful gift because doubt and inquiring has to dela with death and faith'.

Great story well narrated and not many more about it. Mildred is a bit incoherent, too selfconscious some times, too shy some times. The imtimate moments, as the one inmortalized in a Life magazine photo, are the best. A pity they are so few.

The best Gibson. In his extremely high clue, after a long exposition of peace and civilization values in the US, with romance and all that things; quickly it reaches literally a 'high plain' of violence and blood and Desmond heroics. So well done and filmed that the last imge od Desmond floating int he air feels natural. Y deplore Gibson conservative values, but the film is fucking coherent.

Braga se funde con la dirección de modo tan natural. Su supervivencia al cáncer es el equivalente de una juventud revolucionaria, que en la adultez, se transforma en las ganas de quedarse en su casa, viendo, egoistamente, a Recife 'mudar'.

La dirección de Larraín es tan arrogante como el personaje de Neruda, el de su mujer y el de Gael, aunque este me gusta porque todas las otras arrogancias se ceban en él. la fuga hacia el sur me gusta; amplifica todo.