Reviews by Rath

Stimulating sample "Ero-Guro" (grotesque erotic), Japanese genre Teruo Ishii attended in the late sixties and early seventies and the filmmaker is outstanding representative. Here part of a sleeve, to add even greater expressive freedom, with very satisfactory results. Combining scenes of violence of all kinds with more placid erotic cut is always pleasant and very well exposed. Japanese cinema consumer but much quality as undervalued.

Indigestion symbolist, supposedly surreal, last heir of a Cocteau opium but considerably less scope in their confused (at least, for me) proposals.
His actors do not help much. Jolanta Umecka, heroin Polanski's "Knife in the Water", admittedly, is as beautiful as little expressive and Ladislav Mrkvicka seems to represent -with more pain than glory- a young Picasso until in his famous striped shirt. Little humor.
The best, the decorative base and fantastic recreations.

The best compliment that can be made of this film is precisely its simplicity, its lack of pretension and no moralistic messages when the subject lent itself well to this. Try the daily life of an elderly widower and solitary character without becoming easy sentimentality or maudlin. Nor is boring, difficult task when so few elements are shuffled recreation. His short, about 70 minutes, also helps to make it more palatable human tragedy.

Excellent historical reenactment reminiscent, at times, thorough bill another great Russian filmmaker, Eisenstein, in his latest epic work (Alexander Nevsky; Ivan The Terrible).
It is important the peculiar psychological study of characters by Tarkovsky, but the narrative is excessively prolonged in some sequences where, though relevant, could have been replaced by others that enrich further the vision of that feudal society.

A somewhat simplistic plot in its resolution but embroiled in situations and subjects more or less vile cut -with the Sicilian Mafia in the center of the action- peppering politicians and dirty businessmen where the only honest character (excellent as usual, Gian Maria Volonte) receives all the blows. The approach is adequate and the story is based on a good novel by Sciascia, but its development ends, to some extent, for letting.

We are surprised by the ostentatious start opening scene in a luxurious disco to better introduce us to the excessive leisure decadent jet current dolce vita, true protagonist of the film. The aesthetic is so overloaded that moment reminds the most baroque Fellini. From there, the dissection of characters -with occasional ups and downs and narrative sequences in the somewhat uneven interest- complacent tone begins to get used to a certain kind of European cinema, more intent on looking for the easy flattery surface that in diving looking for new ideas or ways of making films.

Except in very rare cases, animated film with anthropomorphic characters repelled me enough. It must be old reminiscences, when Disney almost monopolized this field of children's imaginations. Moreover, here we have a family of cunning foxes, of course. And talkative, already worse. To finish spoiling, we recognizable voices of famous actors, which already makes everything more complicated. All in the service of a story -Roald Dahl despite- predictable and rather pointless. Positive, hardworking and well achieved its technical bill.

The movie has two readings and almost two parts. The first half and those sections of the second focused on the camps are far more interesting than the end, most located in the historical reconstruction process that originated with different treatment, two famous documents in USA and UK guaranteed Wilder and Hitchcock respectively.

To stand out the vision of these horrors in color, first use of the same in the documentary film.

Admitting that intrigue film (detective, spy ...) has never interested me too and even less if the expresionless Hardy Kruger is the ubiquitous protagonist, Blind Date uncheck some of the quaintness of this kind by other second readings, so characteristic the work of its director.

In this film also perceived the usual social criticism and constant denunciation used by Losey to the class Western societies and integral operators / exploited based on hypocrisy when not in the most blatant lie, as is the case in this movie. Moreover, the film with its ups and downs and a decline in the flashbacks, is seen with relative interest.

Typical product of series B, as evidenced by their short film. Despite or because of it, the film can be seen well, has excellent photography (lighting and building atmospheres), and has three or four sequences (subway, street chase, ending...) filmed with remarkable brilliance. However, you are missing a better and less confusing detailed development and spare the odd character and ridiculous tirade deists addressing alleged members of the satanic cult, towards the end of the movie.