Reviews by fernando

Morris repeats with Rumsfeld what he did with Mcnamara. Good ol falcon assuring he is cool, right, sensitive, and 100% american. His memos dealing with the margins of error, uncertainty and evidence, are teh structure of the speech.

Simple but ok because Poitras, one of the journalist that exposes Snowden revelations, reguster the conversations and planning with him. Kind of cold, no nonsense, well explained (but not a voice int the other side)facts.

Cukor put all his efforts to cast too many plots and too many characters, good actors, good direction, in a somehow ligth form to dela with heavy and sordid stuff.

One the poorest Monicelli´s. The cliché of the dead grandmother as an alibi to gather all teh eccentric and serpent like relatives (with heavy ideological sides, because they rule an empire of pesticides), and saving the hippi youngers from new deaths....

It goes better and better, from the vulgar and escatological to the sublime. Every feeling and element of the film in congregated around Tognazzi'a deathbed. Great comic costumes.

As an anticipated telefilm, too focused in a lcinical case, didactic on the education of deaf children, with some corny twirls, but a nice balance. Goold noble Hawkins, in silent love with proto feminist Phyllis Calvert.

I love Gloria, specially singing dubbed in close up with her long hair. Subtle plot on unneccesary sincerity, but not an essay on morality and lies.

Cold, somehow sloe, realistic, refined dialogue by Attenborough, an ellegant exploration on cruelty and pervertion for a sick man in an oppresive context (you almost share his superiority on his wife, great passive character).

Effective love story combined with selfhelp plot of Garner making alzheimer(amnesia for old ladies in melodrama)patient Rowlands, remember their own love story by telling it as a novel. Too manipulative, corny some moments, aggresive in osme other moments...

Ahead of its time; everybody is crooked here but love makes Clark chose Eleanor. Big momentos of Raoul mise en scene, populating the frame with the five (including mama Jo Van Fleet) girls around Clark.