Reviews by fernando

Great subject that of children changed at birth by mistake; Hirokazu Koreed exploits it with the deepness of an essay but never losing the lineal and simple narration. They are the characters who say what they have to say.

El ansia de destape (una década antes de que este pase) revisitada con toque sentimental. Que pueblerina era España pero que aventuras le podía esperar al profesor cuarentón y sus autoestopistas. Quizá Trueba exagera al cubrir a sus personajes de excesiva inocencia. Lo de Lennon sí es creíble.

Buen ritmo, no decae nunca, muy bien Dani Rovira impostando lo vasco hasta el paroxismo. Su mejor momento es cuando tira una de las pruebas que lo desenmascararían y rompe la ventana. Un catálogo de todos los estereotipos mofables, incluido el terrorismo.

Indolent, rude, only in that vein could be moving. I was moved, particularly, by the innocence of the little discriminated brother in spite of the rejection of his 'white'brother. And, of course, by the assumptiom, of the racist friends, that our main character is accepted just because of his pitbull.

Great, poetic realism where don´t expect to find it, in the middle of apparent popular sexy comedy which this film is not. Everything flows because Zampa has the eyes of a man in new territory, just guided -literally, as Claudia- by a character ashamed of being himsel. I was moved by Sordi.

Si no fuera por el final...Las señales suicidas de la chica chillan de obvias para el espectador, pero no son vistas por el protagonista. En lo demás, la fluidez de la pareja forzada y el two shot continuo, con pocas y justas elipsis, va muy bien.

3 stars just for Groucho.His lines and gags are above everything else, even his western musical extravaganza. "Do you want your name in lights?" he asks a copa girl. "Are you an electrician?" replies her. "No, but I have connections". What a contrast with Andy Russell's naiveté. Miranda is OK as Fifi kissing men to be recognized.

Tense, intriguing, reasonably violent in spite of the suject (a father takes revenge on the serial killer that slashed her daughter), very noir humor, but there´ssomething I can stand: the screenplay hides the reason because the revengeful father and the police are sure the psycho is the psycho. If he is, then the best thing is when the detective has to rely on him.

Intense, ambitious, armonic in every aspect, in every frame. The stubborn conservative mother is too much but she gets what her stuborness deserves, melodramatically, violently (her own loved son beats her)and sometimes ironically. Don't like the trascendent value (honor of the people, earth etc.), a little on the primitive comunism side, pre soviet (the hammer and saw are the naif symbols of the producers); but there´s is the energy that structures the vast meanings, inlcuding the musicals.

The plot of psicopath obsessed with being part of the family whose photos he processes is more than OK, but Williams is too histrionic in his patetism, the dreams are a repetitive trick, the suspense and visual intrigue is poor.