Reviews by Rath

A perfect example of how a film shot with the greatest economy of means (few scenarios, not professional actors, minimal dialogues ...) manages to capture and arrest the attention from beginning to end. In this sense, Roullet must take into consideration the work of his countryman Bresson in "A Man Escaped", to which should be added to his characteristic gesture statism.

Curious Colombian production. A very interesting script that looks something burdened by a rather slow pace in his boot. As the action runs, the film is proposing interpretations, new visual effects and greater narrative suggestions. Cast that borders on amateur and as predictable end inevitably fails to remove a good taste. Interestingly, however.

In "Opera", all gimmicky and even gruesome of Giallo topics are more than present. In absurd script saves a bit that Dario Argento has a way of making very effective and imaginative in their own way. With its narrative ups and downs, its loose interpretation (aaahhh! my dear Cristina Marsillach...) and its amazing development and resolution, the film can be seen with more pain than glory.

In general, movies of fantasy genre try to make believable a incredible situation. With "Take Shelter" is exactly the opposite.

Nichols, his young director, wants to play too many sticks in a ridiculous grandstanding exercise as hollow as his tornadoes. The film is halfway around without reaching any definition without understanding their proposals. The birds that appear... homage to Hitchcock? ahahahah... It is true that, at times, the action reminds Night Shyamalan cinema, but the worst (The Village, Lady in the Water...); particularly, reminded me sequences of "Kairo" ("Pulse"), of another one actual "genius", Kiyoshi Kurosawa, especially the end.

And its end, how could it be otherwise, opts for premonition and left me more empty than the beach that serves as the stage. Bluff.

The main strengths of the film is that it has very recent time the memory of the German concentration camps in World War II, certain sequences were shot in Auschwitz itself and that some of the facts stated they were experienced in the first person by his director, Wanda Jakubowska. With these assumptions, expected a stifling and hard story, but the director can decant to show everyday life in the female barracks, with their intrigues and their desperate struggle for survival, rather than by the most sordid and cruel aspects not are evaded, but you have some gray in their key features. It seems that events are still too painful and close in memory of the author and it does not dare to dwell on them, still gripped by the horror of it has also been a victim of the same.

As announced at the beginning of the film, the actors are all Polish, so it has more merit that are pronounced in German in those scenes performed by officers or staff of this nationality. "The Last Stage" is not a story about the Holocaust in WW II but almost a documentary of the facts narrated in a style content and, above all, an admirable honesty.

In anticipation and start somewhere , say that after fifty years of similar gestures and Jagger strutting on stage, only to revive the idea is much closer to boredom to excitement .

If to this is added Scorsese 's documentary about the Stones is - as it can not be otherwise - a documentary "author " , and enter the realm of the absolutely predictable. Beginning with its first ten to fifteen minute , a new sample of very particular histrionics of its director is attending (must be all that will not diminish this man with age) to the point that , for a moment, it is not known if the title of the document is English or group Scorsese himself . However, the narcissist is reserved apotheosis ( what better way to finish the show ? ) For his "brilliant " conclusion. The seal of the house from start to finish . However , it is also recognized that in relation to the conduct in general, the packaging industry , with large staff of highly qualified technicians , as well as its effective staging . Framing, camera movement, etc. , at times simple correction is improved.

Special mention other concessions : what the little speech of Bill Clinton ( the theater seemed to become parish) and Christina Aguilera squeaky paint on stage , even if it was only five minutes per head? As a result , we are impossible to ignore that in USA- not surprising that the public or four inches on its body axis and the first row is taken over by twenties as guapitas as sosonas not wag . Formulas television studio and election campaign. All very calculated and content. Pure marketing.

The musical section not just reserve some surprises . Guess who did not know in person the first time the legendary group - '60 - '70 - or those who have not reached the quarantine can watch the show more leniently because of lack of time perspective . In part , I regret not being able to fit this group and refer , in short, at the beginning of the review . The rollingstoniana performance for the same elapsed time , and out of respect for age and stubbornly apañadita leave her . With its ups and downs and qualitative decibélicos ( here always personal tastes included) : fast followed by another topic rather slow . Among the latter is appreciated the inclusion of " As Tears Go By" . Jagger announces recognizing that a long time since I played " shame " . It is worth to hear one of the most inspired lyrics, a poetic recitation , his musical beginnings. To dare to " Sympathy for the Devil" , but this only leads us to remember that we are many miles , and almost more years of Altamont .

Also review the positive side , the inclusion of brief outages old videos on the group file ( performances and interviews ) , some rather curious. And note that the only thing holding up the weight of the instrument and is good-natured drummer . Still the same humble guy always. Charlie : time is on your side . Pity not count for this occasion with another genius in the shade , bassist Bill Wyman.

This is one of the most contemplative -in background and, obviously, in form- movies that I've seen. With very appropriate to the simple story told and a solidarity message unpretentious melodies (Joe Hisaishi) but more than obvious, the film ends up shaking the melancholic side of anyone, any time showing in that which is without ups and downs, but with the bitter taste of caress that never comes at all against the hypnotic sound of the waves on the beach. The nostalgic tone that runs through the film is, however, very well dosed notes very personal humor that would later characterize Kitano's filmography.

A Scene at the Sea is, for my taste and now, the first title to be considered in the work of Japanese filmmaker; nothing to do with the double and violent flash of her film starting.

Title:
Sautet's cinema: between narrative rigor and the triumph of doom.

Although the work of filmmaker Claude Sautet is characterized by sobriety, by their absolute lack of sensationalism, can be blamed only -not reproach- to the exhibition coolness with a tendency to walk on the razor's edge, to touch almost something impossible. Abiding with all this, its credibility end result always ends up unscathed and courage, highlighted.

If we add that the french director dominates the narrative with extraordinary ease is very unlikely that a single movie he gets to defraud the viewer. "Max et les ferrateurs" is a good example of this. It works within a shielded detailed script as tightest timepiece. Also -genuine mark of its maker- the characters are very well drawn and even projected a good psychological study, at least of the main protagonists.

Only regret the almost erratic attitude Max -solved with a pair of third phrases- to define what would be deeper character motivation, the engine of the strange attitude that was later adopted and which will run throughout the story. You can also lie on missing any more accurate indication of his attraction to prostitute disguised Lily. But both licenses point to more than commendable interest in being involved and put filmmaker, once again, the outfits in an attempt to enrich their characters and these risky jumps without network mentioned at the beginning. Incidentally, the actors who play Max (Michel Piccoli) and, above all, Lily (Romy Schneider) deserve a section all to themselves. His admirable performances, next to the side as Perier, Fresson or Wilson contribute to the greater credibility and are important incentive for the story.

Movie of unquestionable interest -even with some small ups and downs- that deserves being with eyes and ears open. At the end, let the good flavor of the best elaborate jobs of Polar or French Noir cinema.

As could be expected after reading some reviews on the work of J.-C. Brisseau, this first movie I discovered a director of a highly seductive personality, open and honest. Nothing is further from the usual French filmmaker flat narrative, academic, or low risk. Because the risk just seems the engine of his meticulous film with lots of details and varied readings in an everyday context that in its richness of expression, comes to shape up some poetic unreality. Buñuel's cinema is not far away and some references to his films do not go unnoticed. The only black spot could be in the resolution of the story, but only by not correctly describe the protagonist the potential conflict between Faith and Science in their personal development, which becomes almost unbelievable stunt that would not be pure anecdote.
Here add that, as usual, the work he does with his character Bruno Cremer is to dazzle. Great job, as well as that of one who plays his daughter in the film (Emmanuelle Debever) and, in view of his great qualities, has not lavished almost in the world of the movie.

I was very pleasantly surprised this film, and the work of its director, Jean-Claude Brisseau. It is a very personal and daring cinematography that perfectly combines gritty realism with adjusted dose of poetry. But the union of both narrative formulas squeaks and never leaves a product full of suggestions, but never discursive, open to different interpretations without seeming erratic in no time. In a way reminiscent of the film work of other fellow Frenchmen as Pialat or Robbe-Grillet.
Movie little known but highly recommended.