Reviews by Rath

I don't understand how this film is among the best examples of Jesus Franco film, still speaking of his most declared, more open film series B and in a few channels stylistically more unhinged. Fewer still understand that personalities such as Orson Welles (and not the only) praised this work, unless it will guide his friendship with the other hand, great Jess.

The worst of this story that does not communicate, it does not attract attention at any time, is its pretentiousness, its absurd and decadent style so seedy. Well filmed and influenced by the comics of Guido Crepax (known is the director's interest in graphic stories) would be the only contribution of some value. Also boasting a jazzy musical cutting. But when so many mixed ideas, why not say, so many genres, confusion becomes the main character and you can not save this baroque display of personal obsessions that do not fit in any way and leave a feeling of futility for any message.

The argument is this: two men and a woman have an accident and lost at night in the middle of the forest. A mysterious man tells them they can take refuge in a nearby convent of cloistered monks belonging to the Order of Silence. The night they will do long.

First, it is surprising that a film made in 1934, retains a more than acceptable technical features, including voice recording. It is also commendable success in the work location and the stage where he spent virtually the entire history, a convent dark and dreary (true protagonist of the film), presented with a beautiful picture at all times and location.

The pace of "The Phantom of the Convent" is deliberately slow, but far from lowering its interest, get with it to give the film more dramatic tension, soon boasted to the supernatural and from there to the horrific.

With respect to a script with few cracks, hanging over the film as some dizzying musical inadequate inputs and some comments laughable overacting in some of its players (note that until shortly before this shoot the film was pure grin) and an end very of its time, naive and almost comical, but that gives the film a certain irony and irresistible charm. The story has its greatest achievements that can not be criticized any moral excess, something that would have been easier and more common in those days, nor falls in Manichaeism because the ambiguous role played by the only woman ever know if it's real or just been possessed by a ghostly entity ... And the best thing to say and above all, it is a film that never loses its interest, including the seriousness of the issue and the freshness of its resolution.

A movie that leaves no one indifferent, which has its greatest charm in its very simplicity and unpretentiousness and advise his vision for Spanish speakers are easy to view through a pair of tickets to the entire movie on the YouTube website.

Based on a true story, the film denounces homophobia and intolerance in the American heartland. The story is tough, uncompromising, though somewhat superficial, to the detriment of greater psychological depth to the characters, something emphasized in its final form shown too gimmicky.

The most valued and possibly the best, the good performance of its performers, featuring Choe Sevigny and, above all, the main protagonist, Hillary Swank.

The effect is that of a champagne bottle once opened. To have a great script in hand, the film, but it looks good, it loses strength to finish in the lament of what might have been and stayed on the road...

First movie directed by catalan Lluis Galter, is the chronicle the last days of one of the last maquis (guerrilla anti-Franco) named Augustín Vila and known as "Caracremada", nickname and title of the film.

How to develop this work could be called minimalist because it focuses on the methodical work, real effort to sabotage the maquis Caracremada. Much of his presentation takes place in real time, detailing, for example, the way he pylons down, his real specialty, through a rudimentary file.

With great economy of means, with virtually no dialogue, no music, with few players, "Caracremada" represents perfectly the lonely struggle of a idealist confrontation impossible into a whole political system established. The film is a risky and brave work -as the character he portrays- in any business sense and brings the silence to the category of sublime character.

The title refers to the moral classification system existing in spanish shows at the time of the movie (1966. The rating "Mayores con reservas" (older people with reservations) or 3R, indicated that the work could only be seen by adults, warning that it contained images that could certainly be of offensive sexual daring, most of the times. In the Spain of that time was enough to appear on stage a woman in negligee to merit distinctive 3R. Fernán-Gómez, the director, it is useful to offer in this movie its particular vision of the world of cabaret from the 60s.

Divided into three skits featuring the same couple, the own director and the argentinian actress Analía Gadé, the film has funny moments, but unfortunately, extend over no new ideas to the story. Fernán-Gómez recalls in the Jerry Lewis comedy bis of those years, playing different roles in the movie. Although the film is a custom product and not an original idea is not unusual in its director and that the time has aged too, the work of Ontañón in the sets and some remarkable ideas very visuals of Fernan-Gomez visual (accelerated takes; impersonation of personalities...) enrich the work and get to his vision more comforting.

Good recreation of atmospheres, interesting technical findings and a remarkable photograph is not sufficient to elicit contributions this project too pretentious. The idea of an earlier Paul Naschy film, "El aullido del diablo", but everything in this movie turns into confusion, mix refried beans of all kinds. Moreover, its good technical and apparent means, does not identify "Rojo sangre" with the typical products of the series B that is owed and, therefore, with the lighter and less egocentric proposals.

Can't say that the film can, far from entertaining, just interested.

Shot in self-mocking tone, Kitano unleashes his usual sketches from a comic side more than usual in his films. The film works well, has its funny moments of self-congratulatory mood but certainly enough cash for its lack of pretension. Halfway through your footage suffers a slight bend due to excessive repetition of situations cease to amaze, but it is remarkable filmmaker's effort to laugh at yourself and your creative potential crises. Experimental film, mere personal entertainment on the line marked more than a decade earlier for "Getting Any?" (1994).

With a western urban structure, the basque filmmaker Enrique Urbizu put back your favorite actor José Coronado in the center of an action story, but less.

After being the undisputed winner of the Goya Awards 2012, could expect more of this film that begins with a flash of powerful, violence unleashed and then not know how to maintain the high standard that had been located.

There are too many gaps and breaks in the script, at times confusing, which is to blame in the future of the film. The fast-paced action that is assumed to start as the core, begins to decline at the rate of its protagonist, the disgraced police Santos Trinidad, fewer owner of a situation that is slipping from his hands and he can not escape. When he enters the scene decidedly violence as Islamist terrorism, the confusion is extended until they became almost unbearable.

It's a real shame to spoil what could have been limited to the usual great little story of a corrupt police confronted a group of mobsters, yes, made with undoubted solvency, without sensationalism or excesses of any kind. The ingredients were in the dish, but with an excess of grease.

This is a six-minute excerpt from the film "Puce Women", which was filmed in Hollywood before "Sunset Boulevard" (1950). This is also the same argument, that of the old Hollywood stars, once finished its period of splendor, languishing in sumptuous mansions, replacing Yvonne Marquis to Joan Crawford Wilder's great movie.

The installation is as disconcerting as most of the work of Kenneth Anger, with all its visual trickery and enveloping atmosphere so charged as suggestive. The result is a curiosity of variegated colors, not without interest but becomes almost an amateur for his stroke experimental trial.

The plot: a young antiquarian goes on vacation. On the way he meets a young woman on her way to the farm of his sister. In the field she is attacked by a strange drifter who allegedly had been dead for a week. The reason is a new experimental machine the Ministry of Agriculture, through ultrasound, kills pests and insects. When the couple arrives at the farm, they find a man killed by this spectral zombie. The plot thickens with the police investigation, he suspects that all is matter of Satanic hippies and drug addicts.

Interesting spanish-italian co-production is highly influenced by "The Night of the Living Dead", the mythical George A. Romero's film, in their argument and quite relevant details of the action.

The idea is quite original and daring in their proposals, indebted to the society of his time, early 70s, with a strong denunciation of such environmental and generational conflict that always sides with the more progressive positions. Capturing on images is quite striking and generally well achieved (starting with the characterization of the zombies themselves) although some breaks in the script detract from the good original idea.

Movie does not indicate at any time their tight budget and it looks forward to at all times.