Reviews by fernando

Good, complete documentary, with almost all the angles (it lacks the killer's voice), all the elements to calibrate the risk of having a nazi homophobic liberated in 20 years (wonderful ironic photos of his graduation inside prison), even with a conversation post facts between the juries.

After so many enlightening, direct to the heart and the conscious, moving, tongue in cheek Morettis, this is so pale, so unstructurated. Its a relief when the group aplaud the depressing one

I love Sheridan (she has good close ups here)and I like Vincent Sherman, but the incredible plot ( a doctor takes the identity of a death patient) reaches the absurd without describing the anguish and degradation of Kent Smith (untalented actor), that could've made everything tolerable.

Great story, a gang of girls with polítical and existential motifs,told as a modern american crime saga, well written; but Cantet was not the right director for this. He is uninspired, even in the violent scenes.

It has its moments, specially the weird and sexy musical when Hudson loses the blade. Laurie clowns too much and Evans plays his brute with conviction.

Cosmovisión feminista latinoamericana, uniformizada con todos los clichés sobre Frida, la revolución que fue machista, el sexy barbudo artista que sucumbe a los generales brutos. Como si el personaje ya tuviera la conciencia del final de la historia, desde sus impulsivos 15. Sí rescato que muestre un dejo de amor y de apego por interés (quiere ser primera dama) a su marido monstruo. Ese lado de la relación es lo mejor de la película.

Ok the quid pro quo between vulgar but intelligent actress and snob but correct autor director. Seigner (madame Polanski) is better when acting inside the 'play', and in her wild tongue in cheek dance. Amalric is a bit conscious he is an accidental (they are lookalikes) Polanski.

Aerial design and romance in a war era,so delicate, humourless, soft paced, cof cof (the sick yong lady)in the wonderful soundtrack...

L'un des meilleurs Duviviers. Exotism and romanticism matches naturally. Intense acting by Gabin and excellent Le Vigan (he supports the climax and the corpse of Gabin). Annabella is a guilty pleasure for the manin character and for Duvivier.

A bit trite and underlined (it's too obvious for everybody the every fight is fixed) but Yordan dialogues and acting (Bogart, Steiger, Sterling)make credible and exciting 50% of the film. Good use of street locations.