Reviews by fernando

The best Schrader in years. Tight, fluent, well located in LA, the city without center. Movies are dead, as the cinemas in ruins showed in stills, sex is the only survivor, mixed with sadism. Best actor: James Deen.

Outstanding film among the ruins of Berlin. While Rosselini was placing neorrealism flag in pstwar Germany, Staudte was continuing the dramatic tradition. The sadness and drunken sarcasm of dr. Mertens allows him to see the moral perversion of the killers. Knef is an ingenue.

Simple, with some erotic elegance,thanks to Steele. The harsh and sober Robert Flemyng keeps the secrets of the plot.

L'art et l'amour de racconter histoires. Resnais stops,run, turn, when he wants just to make sure we are enjoying the story as he is. Here is more sentimental than in other films, Dussolier is really a nice brute depicted with indulgence and Azema with every kind of simpathy. Don't like the open fatal ending.

Long, sometimes tongue in cheek, sometimes heavy on the conflicts, choral film of a taiwanese high class family. Yang attacks the subplots with more thna one style, notably the paralell of love affairs.

Lineal, not too respectful -it seems- to the prestigious bestseller source, a bit affected, with too pretty actors and actresses; it has some uniform and coherent and convincing melnacholic nostalgic mood.

Nao gusta muito. I feel that the 'all in a nightmarish hallucination flash forward' scheme, doesn't justify the episodic erratic argument. The end (of the dream) with the nurse friend going to see the sea, is awful. If there is humnour, it is too hidden.

Tres bon Clement. I like the naturialistic, full of details, sometimes histrionic, sometimes bizarre (Perier in his alcoholic crisis with the therapic glasses in his back, pesimistic, approach to Zola. At the end, the naif and sexy detail of little Nana adorning her dirty neck with a lace, announces another dimension, not sad, but evil and brilliant and ¿why not?, legitime.

Fantasy dreamlike but with a comic and wit plot the surpass the naif happy end. Natwick has great ansurd lines, Morgan is a great sidekick to Astaire, and Minelli evolves with his camera through the impossible sets. Tha latin abstraction (the country is called Patria ant people walk with llamas) is rresistible.

Too aged. Its Francis Lai, claudelelouchian noirish style, provoques some unwilling humoru. Lovelove (Jobert) and ridiculous cool Bronson going to a mafia whorhouse in Paris, its too much.