Bad Hair (2014)

Bad Hair (2014) - Movie Review
Directed by: Mariana Rondón
Country: Venezuela / others

Movie Review: Set in a decadent neighborhood in Venezuela, “Bad Hair” tells the story of Junior (Samuel Lange Zambrano), a sensitive nine-year-old mulatto who struggles with his ‘bad hair’, doing everything to stretch it and to dress up as a singer, just to have his school photo taken. This obsession with his hair, together with other no less important factors – carrying a hairpin, dancing in a different manner, or staring at a young man who often gives him matches – leave his widow mother, Marta (Samantha Castillo), in such a pile of nerves. She takes him to the doctor in order to understand what’s happening with her eldest son, the one she avoids to caress and share a tender moment. There’s an obvious detachment from Marta and a consequent rebellion of the kid who demands to be accepted as he is. The only one who seems to understand the boy is his paternal grandmother, Carmen (Nelly Ramos), who suggests that Marta’s baby child is not her son’s son, and keeps offering large sums of money to have Junior living with her, accepting the fact that he might be gay. However, the kid only wants to be with his mother and will do whatever it takes to get the love that Marta seems incapable of giving. The film takes considerable time shaping the resentful mother who tries to retrieve her job as security, after screwing up somehow, even if for that she has to have sex with her employer in front of Junior, who was supposedly asleep. The way the kid reproves his mother’s behavior is by casting her a look that makes her feel uncomfortable. The helmer, Mariana Rondon, not only uses efficacious establishing shots - of a neighborhood that fills the entire frame with degraded buildings, small balconies, clothes hung to dry, and neighboring activity - but also was very assertive in the way she structured and set up every strong scene. First-time actors, Castillo and Zambrano, give irreproachable performances, in a sad tale that doesn't feel disproportionate in regard to several real lives.

A Pigeon Sat on a Brach Reflecting on Existence (2014)

A Pigeon Sat on a Brach Reflecting on Existence (2014) - Movie Review
Directed by: Roy Andersson
Country: Sweden

Movie Review: From Sweden, comes the last part of Roy Andersson’s trilogy about being a human being, carrying the emphatic title “A Pigeon Sat on a Brunch Reflecting on Existence”. It’s excused to say that this is not a film for everyone since its oddness and twisted humor can be a delight for some viewers and a horrible experience for others. Anderson continues relying on the absurdity of the situations created, often resorting in the repetition of ideas to become funny – the sentence ‘I’m happy to hear you’re doing fine’ is a good example. To be honest, “A Pigeon” didn’t always work fine for me, at least not as much as the two prior parts of the trilogy, the sensationally absorbing “Songs From the Second Floor” and “You, The Living”. The plot, loosely inspired on Vittorio de Sica’s “Bicycle Thieves” (who could guess?), tells the adventures of Sam (Nils Westblom) and Jonathan (Holger Andersson), two depressed salesmen who embark on a crazy trip where reality and fantasy get together. The eccentricities, a staple on Andersson’s filmmaking, have a good impact until a certain point, but after four or five incursions, they start losing the strength we were supposed to expect. There is an undoubted notion that we’re not before real-life episodes since a considerable amount of scenes end up seeming more theatrical than bizarre. However, and far from wanting to let the film down with what it has been said, the film also presents favorable aspects such as terrific visual compositions in tones of pale, a great casting, amusingly offbeat situations, and a constant tragicomic provocation in its approach. Unclassifiable, intriguing, and dauntless, Roy Andersson’s third reflection on existence is certainly not his best, but even fragmented, doesn’t embarrass the incomparable identity of a great filmmaker who philosophically ridicules about humanity. Still very virtuous, but I wanted to like it a bit more…

Still (2014)

Still (2014) - Movie Review
Directed by: Simon Blake
Country: UK

Movie Review: “Still”, Simon Blake’s debut as writer-director, is a drama in the guise of thriller that didn’t succeed neither as a piece of storytelling nor in the way it was approached and executed. The story, set in North London, revolves around Tom (Aidan Gillen), a photographer whose life spanned into alcohol and drugs after the death of his teen son in a hit-and-run accident. Tom tries to maintain a good relationship with his ex-wife Rachel, with whom he occasionally meets to visit their son’s grave. However, she doesn’t seem so lost or consumed by guilt as he is. Even depressive, he’s making an effort to put his life in order, relying on his new dynamic girlfriend, Christina, and on his long-time best friend, Ed, a journalist that starts investigating a case related to the murder of a bullied kid. Coincidently, when assigned for a school’s photoshoot, Tom becomes a great supporter of Jimmy, the brother of the kid who died, also a victim of bullying. If this coincidence wasn’t enough, he starts to be provoked and threatened by the same group of teen kids who keep spreading the chaos on the streets and at school, after he has accidentally collided with one of them. Fear dominates the man just until his girlfriend is raped and Jimmy is violently beaten up. From then on, the inebriate photographer will formulate his revenge that will push him into the darkness of an inescapable alley. Depressively inauspicious, “Still” nurtures a couple of good ideas at its core, which were never developed to reach favorable outcomes. It moves like a TV movie and its plot is excessively fortuitous. If only Mr. Blake had ripen his ideas and then set up a completely different atmosphere, maybe the film wouldn’t appear so much as a rudimentary draft. Consequently, don’t bother trying to look for thrilling or arresting moments.

San Andreas (2015)

San Andreas (2015) - Movie Review
Directed by: Brad Peyton
Country: USA / Australia

Movie Review: “San Andreas” not only addresses a terrible catastrophe, as it is a catastrophe itself. Among an array of earthquakes that keep devastating California, the all-muscles hyper-confident helicopter-rescue pilot, Ray (Dwayne Johnson), flies over Los Angeles to save his wife, Emma (Carla Gugino), who was preparing to divorce him, and then departs for San Francisco to rescue their bright daughter Blake (Alexanra Daddario). The former was having lunch on the rooftop of a building while the latter got stuck inside a car in a subterranean parking lot, abandoned by her mother’s selfish boyfriend. Blake's savior is Ben (Hugo Johnstone-Burt), a timid young man who was waiting to be called for a job interview, and was perplexed with her handsomeness. He gets her phone number thanks to the help of his extrovert little brother who was in his company that day. In parallel, we follow the earthquake expert, professor Lawrence Hayes (Paul Giamatti), a dull character who only screams ‘it’s coming!!’, hiding himself under the tables. Carlton Cuse wrote a plot where nothing comes out of it, even when squeezed until exhaustion. Being more concise: the plot is a sort of cheesy ‘nightmare’ while the acting, oscillating between the courageous and the sentimental type, becomes heavily discouraging. Relying on a shallow adventure that sucks whether it proceeds by air, land, or water, director Brad Peyton’s chances of becoming successful were even more dismissive if we think of the bumbling digital effects and swift camera movements that helped increasing the tumult. What’s the point of seeing the Earth cracking, buildings and bridges crumbling, and the water galloping into the shores, creating a ‘Venice’ of debris, while people scream and run with no direction? I couldn’t find any fun in it because the exaggerated “San Andreas” is simply one of the phoniest of the year. Did anyone mention a disaster?

Uncertain Terms (2014)

Uncertain Terms (2014) - Movie Review
Directed by: Nathan Silver
Country: USA

Movie Review: Independent American film director, Nathan Silver (“Soft in the Head”), who briefly pops up as an actor, just needed 75 minutes to structure an interesting little drama about a group of young women who are admitted in a shelter home for pregnant teenagers. Actually, the facility located in the countryside, is the residence of Carla (Cindy Silver) who runs everything with excessive devotion. The girls are introduced mostly through conversations, in which they sadly explain their misfortunes and why they don’t have the support of their parents or the father of their kids. One girl, Nina (India Menuez), with a flamed-hair and freckled face, stands out from the others due to a melancholy that drags us to the personal problems with her pushy delinquent boyfriend Chase (Casey Drogin). With the arrival of Robbie (David Dahlbom), Carla’s 30-year-old nephew, whose heart is broken after catching his wife cheating on him, things will turn increasingly complex for Nina since they enjoy talking with each other, getting closer day after day. This evidence immediately triggers jealousy, not only in the puerile Chase, but also in some of the girls who start gossiping, throwing the matured-for-her-age Nina into an extremely difficult situation. Impelled by strong impulses, Nina and Robbie seem to know what they want, but life is not easy and the story, just like a well-orchestrated soap opera, takes its course toward a dramatic finale, which didn’t have the striking impact I was hoping. Notwithstanding, Mr. Silver showed to have strong teeth to chew low-budgeted dramas with solidness and personality. I found some resemblance here with the superior “Short Term 12”, based on people in need of attention who, in a dedicated facility, keep trying to find their own space and the best way to be loved.

Tangerine (2015)

Tangerine (2015) - Movie Review
Directed by: Sean Baker
Country: USA

Movie Review: Under the direction of Sean Baker (“Starlet”), who wrote once again with Chris Bergoch, the active “Tangerine”, executive produced by the Duplass brothers and entirely shot on Apple iPhones adapted with anamorphic lenses, absorbs our attention during its 88 minutes. The story starts focusing on the transgender prostitute Sin-Dee (Kitana Kiki Rodriguez), returned to the busy streets of the sunny Tinseltown on Christmas Eve, after spending 28 days in prison. Her best friend, and also transgender, Alexandra (Mya Taylor), is the only one who welcomed her, and the occasion should deserve celebration. However, when Sin-Dee is told that her pimp boyfriend, Chester (James Ransone), was cheating on her with a female prostitute called Dinah (Mickey O’Hagan), she starts an unruly searching for the couple in every possible spot of the ‘hood. We set off into a wacky trip without precedents, packed with lots of personal confrontations, funny situations, and some lamentable realities. Every character is genuinely unique and some of them gradually start gaining preponderance in the story – besides the strenuous Sin-Dee, who talks interminably with a terrific wild accent, we have: Ramzik (Karren Karagulian), a married Armenian cab driver and frequent client of the male ‘girls’, whose secret is discovered by his nagging mother-in-law; the super dressed-up, Alexandra, who pays from her own pocket to sing at minor local clubs; and of course, the manipulative Chester whose brief appearance provides the funniest moments of the film. “Tangerine” is insanely raw and only for once felt slightly machinated - when Alexandra hauls a guy along the street after his refusal to pay her services. Newcomers Rodriguez and Taylor were a revelation; Mr. Baker’s regulars, O’Hagan and Karagulian, were flawless; and Ranson was a priceless add. Sean Baker’s best film to date, also flares with an articulated sound design.

Results (2015)

Results (2015) - Movie Review
Directed by: Andrew Bujalski
Country: USA

Movie Review: Writer-director Andrew Bujalski transits from “Computer Chess”, a quirky adventure involving weird chess players competing in an even weirder tournament, to an indie romantic comedy entitled “Results”, which manages to escape the traditional, even if it ends up landing there in the final act. The story follows Danny Ross (Kevin Corrigan), a desolate recently-divorced rich guy whose frustration and disorientation impel him to fight laziness by enrolling in a gym called ‘Power 4 Life’. There, he meets his new attractive personal trainer, Kat (Cobie Smulders), known for freaking out with the clients who give up her classes. She sort of pities him, but simultaneously finds him funny, truly appreciating the honesty revealed about all the junk food he eats. But not only the food, also the weed he smokes on a regular basis. The super-weird Danny resolves to buy two years of classes in advance, which would take place in his own mansion. After a couple of sessions, Kat and Danny are smoking weed together and kissing each other. The next class brings even more surprises when he prepares a fancy dinner with romantic live music, a situation that drives her mad. From then on, it’s Trevor (Guy Pearce), the gym’s owner, who is given a bit more prominence in the story. He has feelings for Kat, despite embarking on other amorous adventures, and got upset after knowing that Danny crossed the line. “Results” is definitely a one-of-a-kind comedy whose initial sequences were delightfully amusing, time when we start knowing precious little details related to them. Corrigan is particularly compelling in the manner he conveys his boredom, unhappiness, and depression. However, the mood of the first half slowly decays in the second, and the weirdness gives place to a more familiar, feel-good atmosphere. Regardless the decrescendo in quality and originality, this is not a pointless film, providing a few good laughs along the way.

Aloft (2014)

Aloft (2014) - Movie Review
Directed by: Claudia Llosa
Country: Canada / Spain / others

Movie Review: Claudia Llosa, the extremely gifted Peruvian filmmaker, whose previous films, “Madeinusa” and “The Milk of Sorrow”, cast some sort of a dazzling spell on me, returns with a permissive drama, “Aloft”, her first English-language film with a few minutes of French, completely shot outside her country - Manitoba, Canada was the chosen place. Set in the Arctic Circle, this is the story of Nana Kunning (Jennifer Connelly), a woman with healing powers who abandoned her son, Ivan (Cillian Murphy), 20 years ago, right after he has been responsible for the death of his gravely ill younger brother in a terrible accident. Nana became a renowned artist and healer while Ivan, left to his own luck with no explanation, followed his passion for birds of prey and became a falconer. The arrival of a journalist, Jannia Rassmore (Mélanie Laurent), who is trying to cope with her own health problems, will provide an opportunity for mother and son reunite again after so many years apart. Soft in its procedures and packed with boring routines and inconsequent romance, “Aloft” was never capable of attaining something distinguishable. The melodrama and the characters are so lifeless and uninspiring that along its first half I had already given my time as wasted. I felt sorry for Llosa since I’m aware of her capabilities. The problem here wasn’t the direction, or the cast, or anything else but the script, whose obstacles are so notorious that it is almost impossible to connect with what the movie is trying to tell us. The icy landscapes and the tolerable performances end up being the less critical aspects in a film whose pretentious enactment was already doomed by a troublingly insecure plot. This is one of those cases we wish the director had never left his roots.


Queen and Country (2014)

Queen and Country (2014) - Movie Review
Directed by: John Boorman
Country: Ireland / others

Movie Review: “Queen and Country” is John Boorman’s sequel to the awarded autobiographical “Hope and Glory”, which covered nearly the ten years before the happenings depicted here. In 1952 post-war England, Boorman’s alter-ego, Bill Rohen (Callum Turner), joins the army and starts the trainings for the Korean War, escaping whenever he’s on leave ‘to see the girls’, together with his best friend, Percy Hapgood (Caleb Landry Jones). During one of these escapades they go to a classical concert, but while Percy gets fascinated with the extroverted Sophie (Aimee Ffion-Edwards) and her friend, Bill only has eyes for a young girl whom he only sees the back of the head and neck. A few days after the concert, he sees her passing by the bar, and in an uncontrollable impulse, decides to talk to her. For this courageous act, the Oxford student, Ophelia (Tamsin Egerton) invites him to her aunt’s place for a drink. They become close friends, however, the next step into love was never consummated since Ophelia had different plans for the future. In parallel with his amorous passions we have access to a full insight of his life within the army, and the different kinds of relationships established with his superiors and colleagues – the unbending veteran Sgt. Major Bradley (David Thewlis) and the imponderable, lazy private Redmond (Pat Shortt), were two examples. The family also gets a small slice in the story, with Bill’s sister playing a relevant role. Globally, the film assembles modest episodes of the early life of the 82-year-old filmmaker, who recreates them in his own personal way and always with a funny touch. The lively Percy contributes with some jocular incidents that enrich substantially the whole. Deprived of action or intensive drama, “Queen and Country” works better as a comedy, and is more charming than revolutionary.

Gueros (2014)

Gueros (2014) - Movie Review
Directed by: Alonso Ruiz Palacios
Country: Mexico

Movie Review: It’s impossible not to feel some empathy with “Gueros”, a very Mexican experience with a touch of the 60’s French New Wave from debutant director Alonso Ruiz Palacios. With a virtuous sense of humor, Palacios, who co-wrote with Gibrán Portela (“The Golden Dream”), addresses the student youth in Mexico City through the story of Fede (Tenoch Huerta), aka Sombra, a reclusive, depressed, and aimless university student, experiencing panic attacks, whose life will change completely after the unforeseen arrival of his younger brother, Tomas (Sebastian Aguirre). The latter, evincing an ebullient personality, soon starts complaining and yelling against the numbness of his brother who shares the filthy apartment with another slacker called Santos (Leonardo Ortizgris). When Tomas finds out that an old popular Mexican singer, Epigmenio Cruz, is hospitalized nearby, they decide to visit him, right after the drunken Sombra has been forcibly evacuated from home due to stealing electricity from a neighbor. The times are of protest and a big student strike movement is taking place in the university and often throughout the streets. The leader of this movement is Sombra’s girlfriend, Ana (Ilse Salas), who is persuaded to join the trio of boys in an adventurous trip. A trip whose distinct and uneven episodes try to mirror the state of today’s Mexico with its revolutions, pop culture, and socio-political problems – aspects that not always take the best course here but also never dismantle our interest. In particular occasions, like when the protagonists admit they’re in a film within the film, it seems that the story is going to turn into something different, an expectation that keeps us holding on. “Gueros” makes sure to show all these conjunctures but never bothers in confronting or exploring them further. Nevertheless, ambition and filmmaking ability is something that Palacios attested; it’s a pity he didn’t take more advantage of that.

Every Secret Thing (2014)

Every Secret Thing (2014) - Movie Review
Directed by: Amy Berg
Country: USA

Movie Review: “Every Secret Thing” starts holding our attention by presenting a promising package of drama and crime, but sooner than we expected and even before totally unwrapped, it becomes a huge disappointment. In truth, the potential of this story, adapted by Nicole Holofcener - the competent writer/director of “Please Give” and “Enough Said” - from a crime novel of the same name by the American author Laura Lippman, is totally inhibited by an unsuccessful direction, screenwriting, and cinematography. Only the casting, with diligent performances from Danielle Macdonald and Dakota Fanning, was passable. The film, produced by the celebrated actress Frances McDormand, was directed by Amy Berg, who deserved accolade for chronicling two disturbing legitimate cases in the documentaries “Deliver Us From Evil” (2006) and “West of Memphis” (2012), but showed serious gaps in this first fictional feature-length. The plot brings out two neighbor friends, the apparently reasonable Alice and the unmannerly Ronny, who were implicated in the disappearance of a baby child, taken from a stroller that was placed in the porch of a house close to theirs. Both were sent to a correction facility for seven years. Now with 18, they’re back, but is Alice who causes polemics by saying she has paid for a crime she didn’t commit. When another 3-year-old is missing, detectives Kevin Jones and Nancy Porter get back to the two teens, who become suspects once again. Everything was poorly done, starting with the messed-up plot and crooked details, going through a disintegrated structure and melancholic undertones, and finishing in its unappealing dark images. A couple of twists resulted pathetically inefficient since everything is too revelatory and the surprises are null. If you’re craving for mystery and thrills, skip this one.

Tomorrowland (2015)

Tomorrowland (2015) - Movie Review
Directed by: Brad Bird
Country: USA

Movie Review: George Clooney stars in “Tomorrowland”, a futuristic Walt Disney Studios saga that didn’t show sufficient motives for being considered remarkable despite its well-intentioned message. This is the second participation of Clooney in a sci-fi in two years, after the stunning “Gravity”, but the renowned actor didn’t exceed the expectations here, likely due to a discouraging plot packed with too many dimensions and time travels, assembled without a solid structural dorsal spine. The animator Brad Bird, author of “Ratatouille” and “The Incredibles”, directed the film. Only this time, on the contrary of the mentioned movies, he was very far from triumph. What went wrong? The performances? The special-effects? The plot? Well, I would say a bit of all these aspects, aggravated with the use of an intrusive, old-fashioned score, and a structure that jolts intermittently. The movie starts with the inventor Frank Walker (Clooney) talking about the future to an indistinct audience, being constantly interrupted by the voice of a woman. Casey Newton (Britt Robertson) is her name - an optimistic young tech-savvy who played a key role in the past when she received a time-shifting pin that took her straight into the future. During that time, she was protected by Athena (Raffey Cassidy), a self-conscious girl-shaped animatronic robot whose mission was to recruit the ‘special ones’ in order to recover a condemned world. Combating against evil robots, the three of them will try to reach their final destination: a mysterious place known as Tomorrowland whose ruler is David Nix (Hugh Laurie), an old acquaintance of Frank and Athena, who failed to be the heinous villain the story required. “Tomorrowland” is noble in its efforts and morals, but lacked spontaneity in the acting, nerve in its visuals, and strength in the narrative. Inauspiciously familiar, this is just another sci-fi that promises more than it gives.

Animals (2014)

Animals (2014) - Movie Review
Directed by: Collin Schiffli
Country: USA

Movie Review: The versatile American actor David Dastmalchian writes, produces, and stars in “Animals”, the directorial debut from Collin Schiffli with whom he had already worked in “The Dark Knight Rises”, the former as an actor and the latter as an additional production assistant. The story, set in Chicago, shoves us into a fragment of the restless lives of Jude (Dastmalchian) and Bobbie (Kim Shaw), a couple of heroin junkies in love, who don’t have to worry about paying a rent since they sleep in their car, but have to struggle daily in order to assure their dosage. Driven by necessity and uncertainty, the couple relies on a few scams, some of them pretty inventive while others not really, to get the money that will be spent later on, when Jude visits their regular dealer. Arranging fake sexual encounters for Bobbie, stealing CD’s from music stores, misleading security guards with a missing-laptop scheme, and trying to obtain medicines from hospitals, are all part of their sordid enterprises. There’s an obvious complacency whenever they’re in possess of the drugs, and we can see them injecting themselves on the neck, feet and hands, whether in restrooms of restaurants, whether in cheap motel rooms. But not everything goes smoothly and the danger lurks from many corners, like when they were intercepted by violent, greedy cops, or when a new dealer fools them by selling a false substance. Sometimes the desperate predators are not so ‘animals’ and are taken by an occasional self-conscience and common sense - Jude felt incapable to ‘attack’ a mother rocking her baby in a stroller. Taking the theme into account, “Animals” can be considered understated since the protagonists’ relationship surpasses somehow the addiction issue. An optimistic, well-intentioned finale is the culmination of a story that exhibited a tragic predisposition.

Mad Max: Fury Road (2015)

Mad Max: Fury Road (2015) - Movie Review
Directed by: George Miller
Country: Australia / USA

Movie Review: The enthusiastic moviegoers yearning for a rebirth of ‘Mad’ Max Rockatansky, immortalized by Mel Gibson in the early 80’s, can rest now. Director George Miller’s fourth post-apocalyptic road movie, “Mad Max: Fury Road”, is a meritorious follow up to the cult trilogy. The quiet loner Max, now played by Tom Hardy, continues his adventures in a dystopian Australia where the immense deserted landscapes sustain high-speed raging battles, most of them inventively crafted through futuristic vehicles, sufficiently freakish props, and gruesome faces. In the breathtaking opening scene, we observe Max being trapped and turned prisoner by the War Boys, the faithful army of the despot, Immortan Joe (Hugh Keays-Byrne), the one who, from his Citadel, controls all the water supplies of the area. Max becomes the official blood donor of Nux (Nicholas Hoult), an ambitious sick War Boy who, later on, will join him in the fierce rebellion against Joe, led by the one-armed soldier, Imperator Furiosa (Charlize Theron). Joe’s five beautiful wives, whose existence is resumed to giving birth, flee with Furiosa, who drives a heavily-armored War Rig toward East, looking for the ‘Green Place’, a vivid memory from her childhood. The tyrannical Joe reunites his army to chase the eight fugitives. I simply loved the guy hanging on the front of a car, insanely playing an electric guitar. Max, who keeps tormented by visions of his dead daughter and other ghosts, is the one to engender a risky and yet clever move: turn back to the Citadel. Mr. Miller takes a better advantage of the technology at his disposal, and yet the impetuously wild scenes never felt digitally manipulated. The elementary plot proves there’s no need for elaborate plots or subplots to set up a decent action-packed film. The power of cinema can marvel!

Testament of Youth (2014)

Testament of Youth (2014) - Movie Review
Directed by: James Kent
Country: UK

Movie Review: “Testament of Youth” is a biographical drama based on the World War I memoir by the English writer and pacifist, Vera Brittain, played here with perseverance by Alicia Vikander, the one who gained our attention some weeks ago as Ava, the robot, in the commendable sci-fi “Ex Machina”. Despite Vikander’s endeavor to get everything right, properly shaping Vera’s personality, the drama, adapted by Juliette Towhidi and directed by James Kent, never took the bull by the horns, conveying the sensation that much better should have been done. I had difficulty finding a strong emotional link with the main character. Even completely identifying and understanding her condition, I simply resigned myself to her grief in a state of indifference. Both director and screenwriter share responsibilities in the case, first because the awkward camera work didn’t win me over, and second because the story lingers more than it should in certain scenes and details, which once absorbed, should have progressed in a more straightforward way. Almost every affective connection created between the viewer and the character, at a certain point, is dissolved in the following scene, time when a new effort is required to reestablish the connection. The viewers should be spared to these relapses to avoid falling into monotony. The misty cinematography by Rob Harden, who had showed aptitude in “Ex Machina” and “Boy A”, was perfectly suitable for the time and place, and his sporadic unfocused images didn’t bother me at all. In the end, “Testament of Youth” is not so strong when intersects the anguish of loss in wartime with the pacifism that, in a noble way, started gaining life. Obviously, this point of view only applies to the film itself and not to the respectful principles and deeds of Vera Brittain.

The Age of Adaline (2015)

The Age of Adaline (2015) - Movie Review
Directed by: Lee Toland Krieger
Country: USA

Movie Review: What an irksome trip, spanned over many decades, is presented to us in “The Age of Adaline”, an epic fantasy romance directed by the young talent, Lee Toland Krieger, who did a much interesting job in the more realistic and charming “Celeste and Jesse Forever”. Mr. Krieger takes on a script, written by J. Mills Goodloe and Salvador Paskowitz, which is not so original as desired, and with the help of a narrator, tells us the long life of Adaline Bowman (Blake Lively), a woman born in 1908 who became ageless at the age of 29, after being mysteriously hit by a lightning bolt during a car accident. This unexplainable episode forces her to constantly change identities and move out to cover her secret. Her daughter, Fanning, becomes the only person who knows the truth, aging as her mother remains young and knowledgeable. The narrative restarts in a New Year’s Eve party, this time with no voiceover, where Adaline, now under the name of Jennifer Larson, falls in love with Ellis Jones (Michiel Huisman). Tired of running away, she struggles with herself from not being able to embrace this genuine love with all her heart. After a period of caution and hesitation, she decides to give Ellis a chance. However, she will be caught off guard when she meets Ellis’ father, William (Harrison Ford), her former lover at a young age. Playing with the timeline and fortuity, “The Age of Adaline” will bring up to mind other related films, cases of “Benjamin Button” and “Big”. I can assure you that it doesn’t do better than any of them, relying on a too schematic structure, a too invariable tone that tilts to sweetness, and a few too obtuse scenes that help dragging the film down. The result? It’s too short to deserve attention.

Slow West (2015)

Slow West (2015) - Movie Review
Directed by: John Maclean
Country: UK / New Zealand

Movie Review: “Slow West” represents an auspicious debut for writer-director John Maclean who incorporates old and modern formulas to turn this western into an eventful 19th century’s odyssey that brings a madly-in-love 16-year-old Scottish boy to the American West, looking for his true love. Jay Cavendish (Kodi Smit-McPhee) is the boy in question and the girl he’s trying to find is Rose Ross (Caren Pistorius). What Jay doesn’t know is that Rose is wanted dead or alive, a situation that drives several bounty hunters to the region, eager to put their hands on the $2000 reward. Fortunately, Jay won’t do this trip alone, counting with the gun skills of a lonely drifter, Silas Selleck (Michael Fassbender), the narrator of the story, who offers himself to protect him from hunters, desperados, and Indians. Among the bad-asses, one is particularly feared – Payne (Ben Mendelsohn), a sly wolf who made a pretty funny appearance; with a cigar between his lips and covered in a big fur coat, he asked Silas in the middle of the woods: ‘may I enter?’. Along the journey, Jay and his secretive pal will come across good and bad people, but among all the situations, two of them are definitely good: the first was when Jay was forced to shoot down an intimidating immigrant mother; the second happened when during a furtive Indian attack, he avoids an arrow from hitting his face in an exceptional reflex. Gorgeous landscapes accommodate these precipitate encounters, which circumstantially are suspended by flashbacks of the protagonists’ past. Jay’s sense of purity, endless passion, and astute observations are what propel us being fond of him. As for Mr. Maclean, who managed to follow his own orientation whenever it was justified, praise should be given to him for cooking the plot with homogeneity and no pressure, and for setting up a memorable climax built on a rousing final shootout.

Magical Girl (2014)

Magical Girl (2014) - Movie Review
Directed by: Carlos Vermut
Country: Spain / France

Movie Review: “Magical Girl”, which opens and closes with a mesmeric moment of magic, doesn’t hesitate to astonish the viewers with a few refreshing plot details. The story centers on two strangers, Luis (Luis Bermejo) and Barbara (Barbara Lennie), whose lives converge at some point. Luis is an unemployed former teacher who wants to pamper his 12-year-old daughter, Alicia, a devoted enthusiast of anime series and Japanese pop songs, with the gift she ever dreamt – a unique dress that costs 7000 Euros. The reason for this is that Alicia is dying from leukemia. Since the books he often sells by weight are insufficient to collect the total amount, he sees a golden opportunity to get it by blackmailing a mentally troubled woman called Barbara, with whom he slept right after meeting her in undesirable circumstances. Barbara hides a mysterious past that involves an obsessed professor from her youth, and lives comfortably with her well-established psychiatrist husband. Nevertheless, and since she can’t get an excuse to ask him such a great amount, she resorts to her former employer, Ada, who runs a prostitution business. Barbara is then introduced to a sinister man in a wheelchair who arranges bizarre sexual encounters. She ends up paying Luis, but the game was far from reaching an end. Filmmaker Carlos Vermut embraces drama and thriller with the same spontaneous conviction, in this meticulous tale of revenge(s) that mesmerizes us from the first minute. Even if we have a slight impression that some of the visuals and mood had been borrowed from other movies, we can’t help being dragged by the clever plot, clean appearance, and a disconcertingly intriguing structure. Quietly disturbing, this penetrating neo-noir thriller relies more in a cruel insanity than any kind of magic.

Heaven Knows What (2014)

Heaven Knows What (2014) - Movie Review
Directed by: Ben and Joshua Safdie
Country: USA

Movie Review: Somewhere between “Streetwise” (a confessed influence) and “Panic in Needle Park”, “Heaven Knows What” was written by Joshua Safdie and Ronald Bronstein, based on the forthcoming autobiographical work “Mad Love in New York City” by the protagonist and first-time actress, Arielle Holmes. Arielle plays a version of herself under the name Harley, a homeless heroin junky whose boundless love for other junky, the ungenerous and inscrutable, Ilya (Caleb Landry Jones), made her slit the wrists as a way of proving it. Constantly left behind by Ilya, Harley repudiates the funny stalker, Skully (Ron Braunstein aka Necro), and joins the dealer, Mike (Buddy Duress - a real street legend from Queens), who is actually more concerned with his drugs than anything else. Directed by NY brothers, Joshua and Ben Safdie (“Daddy Longlegs”), the film – an independent blend of fiction and documentary with a 70’s look and bristling synth score - is set with vibrant tones and exhibits a notable camera work, as well as a radiant photography by Sean Price Williams (“Listen Up Philip”). The performances were consistently compelling, especially if we consider that most of the main actors are not so experienced. One exception is Landry Jones, who was given leading roles in “Antiviral” and more recently in John Boorman’s “Queen and Country”. This doomed love story was approached with total respect for its character, smartly combining a few amusing situations with the unhappiness that involves the whole story. The ending was particularly intriguing, making me wonder what, in fact, happened to the real Arielle. Did she ever change her life? Is she stranded at the same point as before? Even if not at the same level as its influences, “Heaven Knows What” induces sincerity in its reenactments, dragging us out of our comfort zones.

24 Days (2014)

24 Days (2014) - Movie Review
Directed by: Alexandre Arcady
Country: France

Movie Review: Algerian-born French director, producer and co-writer, Alexandre Arcady, probes the real incidents that devastated a Parisian Jewish family in 2006. The case was known as ‘The Affair of the Gang of Barbarians’, where 27 people were tried for kidnapping, torture, and consequent death of a modest cell phone salesman, Ilan Halimi, who died 24 days after his capture by a ruthless gang that operated both in France and Ivory Coast. At the time, the case shocked France since anti-Semitism and financial reasons were proved to be on the basis of the crime. Zabou Breitman impersonates Ruth Halimi, the disconsolate mother, who after introducing herself, starts narrating how her beloved son suddenly fell in the hands of a gang whose leader, Youssouf Fofana aka Django, became the negotiator of the ransom. Ilan was conducted to his aggressive captors by a mysterious beautiful woman who met him at his store. The family decides to follow the police advice: not to pay the ransom and negotiate with the unscrupulous leader of the gang, who becomes more and more impatient, as well as discredited in the eyes of his accomplices due to the impasse created. False suspects and clues, descriptions that don’t match at all, and a bunch of threatening phone calls, most of them to Ilan’s father, Didier (Pascal Elbé), consume some time until taking us somewhere. The film is not devoid of tension, passing some of the anxiety to the viewer. It doesn’t reinvent the formula, but its narrative doesn’t compromise either, in spite of some repetitive basic procedures and circumstantial overdramatic scenes. Generally speaking, Mr. Arcady maintains the film controlled, and even if it’s not a great thriller, “24 Days” provides an acceptable fact-based reconstruction of a shameful operation.