Reviews by fernando

As personal, healthilhy egomaniac,and well narated, as it gets. Agile, witty, charming, and moral ambiguous Guitry. His digressions are ludic (for instance, the presentation of wife Delubac)

Rare man, Corbucci. When more light and frivolous, bitter in his commnentary on corrupt revolutionaries, deadly bandits, greedy women, vengative militars. Nero's one deadpan characterization contrasts with vital and clownesque Musante (he is a real clown in his showdown with Jack 'Curly' Palance in the bullfight plaza).

A light Pratolini, 'senza' the sadness and the bad temper against the world you find in "Cronaca familiare"or "Cronaca di poveri amanti", but I like sexy Cifariello disputes by beautiful girls.

'Politicploitation' film by the commercial Ferrara. Terrorists are too birght and politics are too dumb and machiavelic. Volonte and Moro's wife, Margarita Lozano, dignifies the film.

The idea, or, less than it, the form (one man struggle in silence with nature) is more than the substance. I would like to know why tha character founds in travelling alone in the sea at his age. !He could talk to himself and to us, for christ sake¡.

I like the senior's part, not the young journalist research (even Shia LaBeouf is ok). The image of eternal backpackers hippie Julie Christie and Bob Redford running through the wilderness is nostalgic. Susan Sarandon puts the dramatic note.

Good plot and plot nowadays, the misjudgment of an innocent man because of a child's lie. Vinterberg manipulates us, because doesnt let Mikelsen takes with elocuence his own defense.

A virtuous circle for Philmena and his forced journalist friend. They found Phil's son in the graveyard of the convent where the research begins. Frears doesn´t judge anybody, he lets the journalista make the judgment and Phil the forgiveness.

A good Ridley Scott in years. Dialogues are a bit abstract and affected but they have to pose a theory on the extrme narcoviolence in Mexico. As Brad Pitt says to Fassbender, all the the killings and decapitations are to keep the cartel's image. They point to you, the one who threats them or deceives them. The pain of Fassbender is a tragedy beyond the thriller.

Intelligent dialogues between sardonic but repressed and conservative Travers (Thompson) and funny musical men working with Disney. There´s a ñimit in Disney portrait: this is a Disney film