Why Don't You Play in Hell? (2013)

Directed by: Shion Sono
Country: Japan

Movie Review: Presented as the Japanese “Kill Bill”, “Why Don’t You Play in Hell?” is a virulent action film and slapstick comedy, written and directed by Shion Sono, which works as a sort of incendiary homage to cinema. The inventive yet sometimes exhausting plot centers on Hirata, a young filmmaker whose dream is to direct a masterpiece for the sake of art, not money. He and his crew will find the perfect character, Sasaki, a quarrelsome young man who keeps fighting in the streets. The goal is to turn him into the new Bruce Lee from Japan. In the other side, authoritarian yakuza boss, Muto, and his vengeful wife, are capable of everything to turn their daughter Mitsuko into a successful actress after her first TV ad for a toothpaste brand has became noticeable ten years ago. At the same time, Muto will fight his fierce rival, Ikegami, who also developed an uncontrollable obsession for Mitsuko. Shot in an unstoppable rhythm and creating unrestrained scenarios, this samurai-yakuza extravaganza doesn’t dispense violent blood baths and a keen humor that keeps us watching it. The issue isn’t the madness conveyed or even the electrifying hysteria of some characters; it’s more the mess, sequentially created by overdone scenes that form a mix of poetic, crazy, and grotesque parody, not always gratifying or endurable. Unlike the ambitious Hirata, I didn’t feel any blessing by the ‘Movie God’ here, but in turn, we can witness Sono’s rebel attitude and creative screenwriting.

Personal Tailor (2013)

Directed by: Xiaogang Feng
Country: China

Movie Review: Abandoning for now commercial big productions (“Aftershock”, “Back to 1942”), Chinese helmer Xiaogang Feng embarks in a modest, yet witty comedy that makes diverse social-political considerations about the actual Chinese regime, its big leaders, art and artists, wealthy aristocrats, and environmental issues. Written by Shuo Wang, who already had collaborated with Feng in “If You Are the One 2”, the story is centered in a company called ‘Personal Tailor’, dedicated to selling impossible dreams to their eccentric clients. Presented with farcical tones and counting with poignant, half-true-half-parody jokes, the episodic adventures start hilariously when the company enacts the capture and torture of a woman by the Nazi regime, moving afterwards to an incorruptible chauffer who eagerly whishes to be one of the big leaders of China (what a great laugh he puts!), but occasionally suffering crisis every time he becomes aware of reality. We can also follow a tasteless filmmaker struggling to create something art-house but eventually becoming victim of high-culture shock, and a money-fanatic woman whose bigger pleasure consists in pay exorbitant prices for whatever. This satire ends with a nostalgic touch, apologizing to nature and everyone else for the damages done in our planet. “Personal Tailor” exhibits a few good thoughts within the addressed topics, biting more through its cynical posture rather than its fluctuating execution.

Veronica Mars (2014)

Directed by: Rob Thomas
Country: USA

Movie Review: Inspired by the popular TV series, “Veronica Mars” is a dissimulated comedy-thriller that holds very few convincing elements. Former teenage private eye, Veronica Mars (Kristen Bell), leaves New York City where she had a good opportunity to make a career in the law field, to return to Neptune, California, city of her past. The reason has to do with her former boyfriend, Logan (Jason Dohring), who asks for help after being accused of the murder of Bonnie De Ville, an emerging pop singer found electrocuted in her bathtub. Filmmaker Rob Thomas wasn’t able to fully dissociate this debut feature film from the TV approach he assumed for the series, between 2004 and 2007. The thin plot very soon was revelatory of its own problems, being treated in a too soft and careless manner for the seriousness the story should try to convey - after all we’re talking about a murder. The movie’s lightness opposes to Veronica’s toughness, in a combination that touched the pathetic in several occasions. Kristen Bell was the obvious choice to give life to Mars whose direct personality and lushly air couldn’t hide superficial tones that turned the story dubious. With an unarticulated pace and unnecessary voiceover as prop, “Veronica Mars” is nothing more than a tedious investigation that works more like an episodic joke set up with teenage spirit, rather than the essential detective thriller it aimed to be.

Honey (2013)

Directed by: Valeria Golino
Country: Italy / France

Movie Review: Italian actress Valeria Golino (“Rain Man”, “Respiro”, “Frida, “Quiet Chaos”) directs her first feature film, “Honey”, based on the novel “A Nome Tuo” by Mauro Covacich. Jasmine Trinca stars as Irene, a young woman who uses the codename Miele (Honey) when she dedicates, body and soul, to assisted suicides. Often traveling to Mexico in order to easily obtain the right drug to apply on the multi-age terminally ill patients, Irene is seen as a gift by the despaired ones, in a task she considers respectful and necessary. One day, her conscience will be violently shaken after she meets with Carlo Grimaldi, an old Roman engineer who evinces his wish to die due to simple boredom of life. “Honey” moves in the right direction, being simultaneously humane and severe in its analysis but without always show the expected intensity to involve me deeply. It showed so much potential but left me with the sensation that could be better explored in terms of ambiance. Notwithstanding, its plot brings moral and other pertinent questions to be careful examined, and its visuals are aesthetically engaging. Trinca was very appropriate for the role of an anguished woman, trying to do the right options in life and struggling to be in peace with her conscience. Golino’s “Honey” resulted more effective when compared with other films about the same topic, such as the also Italian “The Dormant Beauty”, but lacking the emotional impact of “The Sea Inside”. Choosing to die, and in which conditions – that is the question!

Nymphomaniac: Vol. I and II (2013)

Directed by: Lars Von Trier
Country: Demnark / others

Movie Review: Polemic filmmaker Lars Von Trier needed two parts of almost two hours each, and eight chapters, to tell the story of Joe, a self entitled nymphomaniac who recalls the most important details of her life in the presence of Seligman, a literate man who found her beaten up on an alley. Always provocative, as “Breaking the Waves” and “The Idiots” once were, “Nymphomaniac” mixes meditative observations of every kind – personal, social, artistic, religious – with explicit and incisive sexual moments whose occasional aggressiveness and psychological intrigue maintain the experience unique. The involving complexity showed in Joe’s behavior, her fearless risky games, fierce impulses, and constant demand for new sensations, put her in the limits of pleasure and suffering. Joe’s narrative touches in crucial points such as childhood and adolescence, loss of virginity, her love for Jerome with whom she had a son, obsession for sex, uncomfortable situations involving a married man and his family, the peculiar relationship with her loving dad and contempt of her mother, the ineffectiveness of group therapy, and final disillusions when she met a younger woman. Charlotte Gainsbourg became a natural choice for von Trier after the notable impressions left in “Antichrist” and “Melancholia”. Demanding some effort from the viewers, “Nymphomaniac” is aggressive, raw and deliberately explicit, but also philosophical in its analysis (human and artistic) and grievous in its finale. It’s a relentless study of an obsessive woman who desperately needs some humanity and compassion. Smiles and disturbance are guaranteed for the ones who see it with an open mind.

Venus in Fur (2013)

Directed by: Roman Polanski
Country: France / Poland

Movie Review: Roman Polanski’s new staged drama, “Venus in Fur”, creates a scenario of female domination and male subjugation that grows in intensity as it progresses to the end. Emmanuele Seigner and Mathieu Almaric run the show, putting some soul in their performances and extended dialogues that try to better characterize this male-female nature study. At the end of the day, Thomas Novaceck, the writer-director of a new play adapted from Masoch’s 1870 “Venus in Furs”, is disgusted with the poor auditions for the main role of Wanda von Dunayev. His disposition will change when a seductive woman named Vanda shows to be the perfect choice for the role, slowly manipulating him with her observations, suggestions, discussions, and alluring power. Less funny than “Carnage”, “Venus in Fur” adopts the same theatrical tones (now in a real theater), having its dose of success by creating a nervous tension through inflamed words of disagreement, while its protagonists slightly get off the play and enter in an entrapping reality. The phone calls interrupting Thomas were crucial, trying to bring him back from an obsession that grows without control. Not everyone will be pleased by the film's cunning changes and tangled discussions, which sometimes fall in repetitive cadences, but in several occasions, it can be very sensual (thanks to a Seigner in great shape) and deliciously evil. Definitely it’s worth a look, even if its genre isn’t among my favorites.

A Place on Earth (2013)

Directed by: Fabienne Godet
Country: France / Belgium

Movie Review: After her directorial debut in 2005 with “Burnt Out”, followed by the documentary “My Great Escape” two years later, Fabienne Godet presents us now her second fictional drama with “A Place on Earth”, a story about obsession, depression, and self-confidence. Antoine Dumas (Benoit Poelvoorde) is an alcoholic photographer whose latest works aren’t having the desired results in the agency he works. Instead of going to another boring New Year’s party, he decides to stay home, taking care of his best friend, Matéo, the little son of his constantly absent neighbor. Allured by Chopin piano pieces played by Elena (Mariane Labed), a neighbor who lives across the courtyard, Antoine will be witness of her suicide attempt. The woman survives and Antoine will develop a strange obsession for her, retrieving little by little his self-confidence. The film oscillates according to its characters, showing pondered moments in one hand, and occasionally bursting of interior liberation needs, in the other. Intriguing only in its first part, it started losing interest as the end approached and became indifferent as its mysteries revealed to be ineffective. The subplots, regarding Matéo or Elena’s addicted friend Margot, didn’t add anything relevant to a drama that failed to provoke or stimulate our minds. Godet tried to use depression as her best trump but the conclusions/moral that passed in “A Place on Earth” were too contrived to achieve admirable results.

The Fifth Season (2012)

Directed by: Peter Brosens, Jessica Woodworth
Country: Belgium / others

Movie Review: Belgium-based filmmakers Peter Brosens and Jessica Woodworth (“Khadak”, “Altiplano”) continue their audacious work on writing, production, and direction, with the lyrical and intimidating “The Fifth Season”, a sensational drama about the consequences of nature/climate changes on human beings. Instead of focusing in global chaos, the duo preferred to choose a small and isolated village in Belgian Ardennes whose community struggles to survive. Along four seasons, the viewer witnesses a progressive decadence, with the ‘angered’ Nature refusing to give them the basic needs - the bees fled from the beehives, cows no longer give milk and were taken out by the authorities, while potatoes didn’t germinate as they should. All these aspects are presented together with weird interactions and unexplainable communication among men and animals, along with inherent senses of fear and helplessness that produces deep changes in everyone’s behavior. Another very strong aspect in the film were the rituals, whether presented in the form of traditional parades, whether in form of sect gathering where alienation, sacrifice, or purification, become the new real threats to humanity. “The Fifth Season” was extremely satisfying in its approach, creating great impact through its disturbing score, haunting images, and constantly involving us in its grim story of survival pelted with supernatural forces and symbology. The film collected important prizes at Valladolid and Venice film festivals.

Torn (2013)

Directed by: Jeremiah Birmbaum
Country: USA / Pakistan

Movie Review: Producer-turned-director Jeremiah Birnbaum has in “Torn” his first directorial solo film. A drama that explores the anguish of two distinct families, one American and other Pakistani, after learn that their juvenile sons were killed in a moll terrorist bombing that victimized ten more people. Moreover, police has motives to believe that one of them was the responsible for the bombing, causing apprehension and revolt in their parents. The two mothers will maintain contact, not without some aggression and prejudice, but soon will realize their unfair behavior towards a very difficulties and inconclusive case. I found a bit forced the way Michael Richter, the writer, arranged all the pieces to turn the story upside down, creating unexpectedly the rupture in one of the families and reconnection in the other. With exception of Dendrie Taylor, the performances weren’t always convincing, making the film equal to so many others dramas that couldn’t find a way, both artistic and narrative, to excel in the genre. Birnbaum’s direction also didn’t satisfy completely, often allowing unpolished images with excess of whites, fact that on purpose or not, is not for my particular taste. In the end we are presented with instants of that fatal day – do they change anything? “Torn” was considered best feature film at Rhode Island International Film Festival.

We Are the Best (2013)

Directed by: Lukas Moodyson
Country: Sweden

Movie Review: Plenty of attitude can be found in Lukas Moodyson’s seventh feature film, which tells the story of two 13 year-old girls who, in 1982 Stokholm, believe punk’s not dead and embark in their dream of forming a band. With a fragile aspect and disillusioned with their families, Bobo and Klara exhibit uncommon haircuts and adopt a rebel posture, not caring a bit with the sarcastic commentaries of their colleagues. Having big problems with sports, they decide to call “hate sports” to their first song, but as beginners, they realize that learning some more music is fundamental. After seeing Hedvig playing classical guitar at school’s fall concert, they decide to invite her for their band, trying to dissuade her to believe in God and converting her to punk music. Most of the situations are funny, but drama and jealous will also arise when Klara and Bobo involve themselves with Elis, a member of another reputed teen punk band. With their friendship in jeopardy, and the first live appearance scheduled for Vasteras, will they get over the situation? Evincing a tireless energy, the viewer can sense that pretty much is going on in the life of these young girls, and those things are far beyond studying. The urge to be different, strong personalities, and support from the families, were positive aspects to take into account, but there were others not so positive (but plausible), such as too much freedom and preconceived ideas. Moodyson returns to interesting scripts, effectively mixing the harshness of punk with the sweetness of these three little friends.

Mister John (2013)

Directed by: Joe Lawlor, Christine Molloy
Country: Ireland / UK / Singapore

Movie Review: “Mister John” is an Irish/UK/Singapore subtle thriller directed by husband-and-wife duo Joe Lawlor and Christy Molloy. The film opens with the image of a body floating in a Singapore’s lakeshore. The victim is John, an Irish man who ran a night bar in Singapore with his wife Kim (Zoe Tay). The latter will meet her brother-in-law, Jeff (Aiden Gillen), who arrived at the hospital to identify the body and later to attend to his brother’s funeral. Having some problems with his wife back in London, the overtired Jeff gets dangerously closer to Kim, while trying to find more about the death occurred in mysterious circumstances. Suspicions fall in one of John’s best friends, Lester, but all the insinuations are both inconclusive and deceivable. Without much to do, Jeff still has time to interview young girls to be hired for Kim’s hostess bar called ‘Mister Johns’, after has been bitten by a snake. Most of these happenings were wrapped in dreamlike tones, and were causing Jeff’s pain and lack of control. The complexity of the main character oscillates between real and calculated, and the same happens with the plot – we never know what to count with or where the things are going. This could be an advantage, but in this particular case it didn’t work out satisfactorily. During its non-shocking final minutes, I had the sensation that all was too shallow to hide any profound secret. Gillen and Tay’s performances were acceptable, while direction showed positive aspects, hopefully to be used in a stronger future plot.

Le Week-End (2013)

Directed by: Roger Michell
Country: UK

Movie Review: “Le Week-End” is the third collaboration between director Roger Michell (better known by the massive hit “Notting Hill”) and screenwriter Hanif Kureishi, after “The Mother” in 2003, and “Venus” in 2006. The result is an agreeable romantic comedy that is kept alive by constant changes in tone, whether in terms of speech or behavior. Nick (Jim Broadbent) and Meg Burrows (Lindsay Duncan) form a long-married British couple who decides to go to Paris for a weekend and try to give a break on crisis, 30 years after have spending their honeymoon there. Several tribulations, unexpected encounters, hearty speeches at dinner tables, and a mix of laugh and sorrow, will mark this special and unforgettable weekend. Despite some common situations, the film was able to celebrate love over any possible trouble that might come, not without some friction, dispute, and irritation. After they bump into Morgan (Jeff Goldblum), Nick’s former fellow student, Meg promptly accepts his invitation for a dinner party at his house. While he smokes a joint with Morgan’s teen son, she accepts an invitation for a drink addressed by another man. Things don’t seem to go in the right path and the tension grows until the film’s disarming last moments. Michell and his trio of actors put sufficient charm in an adventurous romantic story that, at least, had the merit of never being corny.

Kill Your Darlings (2013)

Directed by: John Krokidas
Country: USA

Movie Review: John Krokidas’ sophomore feature, “Kill Your Darlings”, is a biopic centered on poet Allen Ginsberg’s early life, featuring his family problems, big passion for a bohemian classmate Lucien Carr, and his libertine circle of intellectual friends that include future icons of Beat Generation movement, William S. Burroughs and Jack Kerouac.  The film has a powerful start at the sound of a swinging jazz and absorbing images depicting the hot atmosphere in Columbia University where Ginsberg challenged the education system, inspired by Henry Miller and Yates, while experiencing alcohol, drugs, and becomes conscient of his homosexuality. The insecure and heartbreaking Carr served as a huge inspiration for Ginsberg’s first poems, in a tumultuous relationship that has never achieved stable proportions. Despite the accomplished performances by Daniel Radcliffe (remember Harry Potter?) and Dane DeHaan, along with the construction of some incisive tension, “Kill Your Darlings” ended too fast, at the same time that lost some grip in its final moments, even with a murder case involved. Krokidas maintained the desired objectivity for the most part of the time, but the major interest here was purely informative. Perhaps a bit more fervor was required to make the film grow in satisfaction.  

In Fear (2013)

Directed by: Jeremy Lovering
Country: UK

Movie Review: After the experience gained with TV series, Jeremy Lovering’s first feature reveals to be a simple but watchable horror film that relies on the same old techniques to impress. After making a stop (shrouded by mystery) in the unique pub of a remote Irish city, Tom and Lucy hit the deserted and mazy country roads with the intention of finding a house hotel. Driving in circles and running out of gas, the couple’s apprehension and uneasiness will be noticeable in their facial expressions when the night falls, spectral appearances start to occur, and an uninvited guest joins them to give every indication. The concept is far from being new, but the film gains some points by causing some chills and excitement through nocturnal images of the roads surrounded by woods, only illuminated by the car´s lights. The doubt about what happened in the pub and the uncertainty of what’s coming next never abandoned me, with the question if the threat was coming from this world or from another starting to emerge in my head. Minimal in terms of plot and execution, sparse in intentions, and evincing an efficient camera handling, “In Fear” makes of ambiguity its better tool to scare, well sustained by dim light images and a balanced alternation between silences and music. Considering the low budget and minimum resources, the film partly succeeds, even not unclasping the habitual stereotypes of the genre.

Grand Piano (2013)

Directed by: Eugenio Mira
Country: Spain

Movie Review: Spanish thriller “Grand Piano” stars Elijah Wood as Tom Selznick, a talented pianist who returns to concerts after a five-year hiatus due to an almost incontrollable stage fright. Accusing the responsibility of having his fans and media with an eye on him, Tom cannot hide his deepest fear but this time seems decided to cause good impression. He just wasn’t prepared to be threatened with death by an alleged hitman who forbade him to play a single wrong note during the concert. Emma, his famous wife sitting in the audience, becomes another easy target for the madman who communicates with the musician via cell-phone, while he plays the most difficult pieces of his mentor, Gudureaux. Tension is mixed with an unconvincing, humorous tone that never causes the desired effects of involving us in the implausible and forced situations, hopelessly impossible to be taken seriously. Throughout the entire concert, Tom communicates with his persecutor through an earpiece, occasionally stopping to play and leaving the room in order to find the man’s identity and motives. While the band keeps playing, a ridiculous game of cat and mouse is created, and we breathe an unnatural atmosphere that in nothing contributes to elevate its far-fetched plot written by Damien Chazelle (“The Last Exorcism Part II”, “Guy and Madeline on a Park Bench”) whose next directorial feature “Whiplash” is very much awaited. I only found “Grand Piano” slightly entertaining, becoming an ‘out of tune’ piece of cinema within the ‘songbook’ of the genre.

The Artist and the Model (2012)

Directed by: Fernando Trueba
Country: Spain / France

Movie Review: Renowned Spanish helmer Fernando Trueba has a gentle style of filmmaking, and that’s noticeable in “The Artist and the Model”. However, this drama shot in an appealing black-and-white, is not at the same level as his big hit from 1993, “La Belle Epoque”, or the absorbing musical animation from four years ago, “Chico & Rita”. If the two films mentioned before were quite passionate in the way they express themselves, this one seems to lack some confidence and the results are lucid but restrained. The story, set in an occupied France in the early 40's, follows a famous aging sculptor whose long-time discouragement vanishes after his wife finds the perfect model for him: a young fugitive girl from Reus, Catalonia. Beautiful, shy, and restive, this girl will create a special bond with the persistent artist, at the same time that she takes actively part in the war, helping Jews to flee to Spain. Despite of this last factor, all was depicted with a relaxed pace and a quietness that dangerously approaches to sleepiness. The few events depicted in the film, like the unexpected visit of an SS officer or the hiding of a wounded soldier, weren’t sufficiently strong to give a shake into monotony and the results nothing have to do with enthrallment. Trueba wrote the plot conjointly with screenwriter/actor Jean-Claude Carrière, and the film was nominated for 13 categories of Goya Awards, including best film, screenplay, actor, actress, cinematography, and director.

Concrete Night (2013)

Directed by: Pirjo Honkasalo
Country: Finland / others

Movie Review: Ultimately dedicated to documentaries, Finnish helmer Pirjo Honkasalo returns to fictional drama with the stylish “Concrete Night”, 15 years after “Fire-Eater”. Based on the novel of the same name by Pirkko Saisio, the plot was effectively composed in the grey atmosphere of Helsinki, where 14-year-old Simo (Johannes Brotherus) lives with his unconcerned mother (Anneli Karppinen) and older brother Ilkka (Jari Virman), who is about to go to prison due to drug dealing. Simo shows a great admiration for his harsh, pessimistic, and lost brother, being negatively influenced by everything he does or says. The film, magnificently photographed in black-and-white, is loaded with dreamlike tones and enhances the alienation where its characters are sunk. The opening scene that shows Simo’s nightmare, getting trapped underwater, starts to make sense as the film approaches its end. It was a product of the negativism and disillusion of his brother’s theories, which were based on become free of hope, not expecting tomorrow, and devalue the human being’s existence. The predestinated arrival of a homosexual neighbor, who was living abroad, seemed to have been the last straw to make Simo explode from all the restrained anger and disenchantment of his young life. Despite philosophical allusions to love, fear, and future, the story is very simple and definitely casted some spell on me, with its mirrors, glasses, water, and creative details. It belongs to those ones dark, poetic, and beautiful…

Only Lovers Left Alive (2013)

Directed by: Jim Jarmusch
Country: UK / USA / others

Movie Review: Acclaimed indie filmmaker Jim Jarmusch opens his contemporary vampire tale with a great shot: camera moving in circles following the movement of a vinyl record spinning, and showing the two protagonists, Adam (Tom Hiddleston) and Eve (Tilda Swinton), both vampires who are in love for centuries, but currently live physically separated. While she runs through narrow alleys in Tangier to find her blood dealer, he drives across the dark roads of Detroit to reach the hospital where he buys blood. Stating their appetite with their favorite drug, they show the pointed canines with pleasure and ecstasy. After speaking with each other, Eve senses the depression and discouragement of Adam who plans to kill himself with a 38-caliber bullet made of dense wood. She decides to be with him, but the arrival of Eve’s sister, Ava (Mia Masikowska), will bring uneasiness and trouble. Well-set scenarios help to compose the almost lyrical, contemplative atmosphere, adorned with medieval sounds and psychedelic rock. Don’t expect standard vampires, since the ones depicted here are more mature, controlled, and artistically cultivated. Only Ava showed not to be in the same level as the others, obeying to her strongest impulses and behaving irresponsibly. Many factors made me identify “Only Lovers Left Alive” as a Jarmusch film. Despite narratively more direct than some of his previous works, and without climax, I found it conceptually more interesting than “Byzantium” and much more adult than “Dark Shadows”.

Dream and Silence (2012)

Directed by: Jaime Rosales
Country: Spain / France

Movie Review: Fourth feature film by Spanish filmmaker from Barcelona, Jaime Rosales, is an astounding study on family, dreams, and silences that heal. With influences of Robert Bresson and Victor Erice, Rosales presents us magnificent sequential segments drawn by preponderant steady shots, and bold camera movements (like moving in the opposite direction of its characters towards the unknown, or lurking insistently whether from afar or closely). In a contrasted black-and-white, the image sequences seemed to disperse themselves from time to time (following its characters), leaving to the viewers the task of putting together the pieces of the puzzle. Yolanda is a Spanish teacher in France, where she lives with her architect husband, Oriol, and two daughters. A terrible accident in Spain will make irreversible changes in their lives. The way Rosales found to tell such a simple story is simply ingenious and almost surreal. The calmness presented in several details from everyday life and some conversations, don’t let us forget the depressive states of despair and anguish in the case of Yolanda, or the strange and laid-back behavior in the case of Oriol in face of problems. I felt completely immersed in its enigmatic structure, insinuations, and occasionally abrupt silences. “Dream and Silence”, in its elegant and distinctive disposition, shall delight art-house lovers, as well as enthusiasts of unconventional storytelling.

Stalingrad (2013)

Directed by: Fedor Bondarchuk
Country: Russia

Movie Review: Shot in 3D for IMAX format, Russian WWII blockbuster “Stalingrad” is excessively graphical and noisy, relying on a deficient narrative to depict the drama lived in 1942 by a group of Russian soldiers in order to keep a strategic building in their possession, after the German onslaught. Some images are grotesque and completely out of reality, like angered soldiers in flames shooting incessantly, and constant use of slow motion to depict the battle scenes, where extremely saturated colors and an ornate composition give a non-natural air to the picture. Through silent ambushes or explosive offensives, the war scenes conveyed fierceness but not exactly reality. At certain point, soldiers from both sides were fighting over the two women stuck inside the building, and not even the story about the five fathers of the narrator, or the explanation on how a famous tenor became cold and cruel after volunteer himself, were interesting enough. Filmmaker Fedor Bondarchuk preferred the elaborated methods, so misleading and exhaustive, to the simple ones capable to create a suspenseful atmosphere. I also can’t choose a performance that has stood out, since everybody seemed lost among the debris. The score composed by the acclaimed Angelo Badalamenti, widely known for his work in David Lynch’s movies, did its part without surprise. Assuredly, “Stalingrad” doesn’t make justice to one of the most important and bloodiest battles of WWII.