Reviews by Jimmy Tancredi

Sure enough a screenplay which could turn a giant movie it became to a ordinary one, The Son Of No One is less than a passable film, Katie Holmes doesn’t act well, Channing Tatu mis lost on it, Al Pacino and Juliette Binoche are bland, what a shame, could have became an essential movie to look forward. This is the prove that big stars in the cast don’t give a fair interpretation necessarily even being a big production film, weak though. I’ve asked myself why did Al Pacino enter to this and does not offer any parto f his talent. The more enjoyable here is certainly the cast which the movie has even though they gave miserable acts, in my opinion the film itself is not envolved which got lower in my expectations, as the script wasn’t all fairly decent it could not give the movie the possibility to have more comprehension.

Some say that this is the most sensitive film by Lars von Trier (and who attribute it to a certain "maturity from the director"), a filmmaker who is famous for hype (which I love). Perhaps because it has been this strange feeling of contentment and discontent.
Each of the leading film is meticulously disguised, which leads to two paths: Lars wanted to communicate something through acts apparently trivial or these acts were banal alone and nothing else? I believe the first guess, since the director's job has always followed this line.
Would Justine's father be a humanized version of God? One to whom all turn when they need, but isn’t always (or almost never) there?
Interesting duality between the two sisters, one living in fear of another and afraid to die.
It is worth noting that, after taking literally a shower of melancholy, Justine seems to fill the void that slaughter, thus having the courage to face death (since would no longer live). Whoever loves life will never make a good death.
If I could give a name to Claire , it would be panic.
The vision of the world ending of Lars is really unique and is set almost exclusively on the psychological characters (the end of the physical world is almost accessory). This is perhaps the greatest merit of the film.
Lars von Trier continues its pessimistic view of the world, which he carried to an extreme in his previous movie, Antichrist. The structure, indeed, Melancholia, is very similar to its predecessor, with a prologue done in the same style (and much prettier than the last, say by the way). The direction remains at large, but poignant, and editing, aggressive (both trademarks of the filmmaker). The picture gave a jump of quality (perhaps the best shot of his films) .And the part of Tristan and Isolde, which is repeated throughout the film, is perhaps the best possible choice for the theme. As usual, Von Trier pulls female spectacular performances, but in my opinion, Kirsten Dunst doesn’t exceed Charlotte Gainsbourg.
Melancholy is a movie to see, to grasp in detail, and much thought, especially with regard to the meaning of life, happiness and empty rituals (like marriage completely masked).
I gave the final more credit for the visually jovial aspect. I thought that explosion very greatly done, there the issue of Lars could have acted more forcefully though.

Despite being a film that abuses of silence, recurrence and plans extremely long (the joint that gives a consistency that borders on the unbearable, and maybe that's the intention of the director), Sleeping Beauty did not cause me sleep, or made me uncomfortable, but arrested my attention in hopes of a turnaround, a start who was Lucy.
I have seen the majority of Emily movies, and I shall say this is one of her best performances, judging first by the girl's age which is surprising.
Nevertheless, still she has some things to learn: it was possible to notice her movements as she slept, movements, apparently, someone who is awake . Pay attention to the uncomfortable scene of the bald old man licking her face.
The direction of Julia Leigh is good and certainly safe, the almost complete absence of soundtrack only adds raw to the aspect of the film, the photography is excellent, the direction a little piece of art though. But the sticking point of the work of Julia Leigh lives in the script, right? Well, certainly Julia doesn’t gives us stereotypical characters and clichéd situations: instead of seeing a girl shattered and prostitutes for money, we see someone apparently remorseless than is safe, instead of seeing grotesque scenes of necrophilia sex, we were surprised at first, knowing that the penetration is prohibited inside the mansion of Clara, a fact that creates an aura of eroticism very thin (thinner until exposed in " Eyes Wide Shut") , so thin as to be sinister and is well portrayed by the original little party (with prostitutes dressed in black - in fact , we call them prostitutes? They serve more than decoration for the environment, including one is inside a table).
In fact , the catch from that is not just a brothel, but a place where you can relive your youth, is very good and there, indeed, the childlike (and why not immaculate?) Emily Browning was decisive, certainly does it not make Lucy a princess fairy tale? It makes the "Sleeping Beauty " a macabre fairy tale? Anyway, the title is not there in vain, and allows for multiple readings.
The writer uses the default resource to enhance the mystique of the film ( and perhaps others have used ) , giving rise to different interpretations on some facts that pervade the plot such as:
The biggest, of course, the shocking ending. After all the screaming , we are reintroduced to the scene from another angle at another time, what had previously been found that the man who accompanies Lucy had killed himself (and it apparently had been combined with Clara). But what can be seen after the second scene is that Lucy had also tried to kill herself, only that this hypothesis is supported only with the breath of actress (and, as we know, in scenes of death, the actors shall not stop their actions, breathe so little - but compare the times when Lucy is sleeping with the final scene, the breath , this scene is much weaker ). Once her plan went wrong, she freaked out . After all, there is no Prince Charming for that Sleeping Beauty, seeking motivation in drugs and sex ( and, therefore, has no regrets about selling her body).
The posture of scenes seem unnecessary for me to serve the purpose of daily life with that character. Silence is necessary for the construction of filmic aura. Lacked a bit of action and coordination, but considering that this is the first movie Julia Leigh, there is no hurry .

I finished this movie and I'm really delighted. The script, with many clichés though, it’s lacking in boldness. However, is there something more cliché than life itself? The movie is well grounded, to evaluate in some respects, the script is so simple, basic, it may fall short on one hand, on the other not. It is with this mild form, subtle, daily, the film is so close to the viewer. The leading actor, congratulations, I realized that he stood out for his performance in this film by the press and public at the time, and after also in other studies. He has talent. So say the other actors that worked really well in the set. The characters also super common, do not fail to be valuable, I belonged, to many characters there who were so simple.
The ending surprised me. I spent the whole movie thinking, "That boy out from nowhere kisses a guy, hooks up with him, and fails to have an existential question? A question? Was he gay, straight, what happened?” Then came the director and wow, I loved that it wasn’t explicit in the film, he ultimately gave an "impact", especially the dialogue with his girlfriend.
The soundtrack, I found it well suited to the scenario. The photograph, though wasn’t so worked, I think due to the lack of budget, it is very beautiful, especially for abusing natural of landscapes, as well as paintings, art (when Zach sits in front of the wall he painted, and the camera goes on distance, letting him down all the painting, sky, beautiful thought, a scene that represents the movie for me). The director, we shall realize that he’s great, I loved the scene in a "flashback" in the middle of the film, perhaps with a larger budget, would came out something more perfect still. Worth checking out, I submit to anyone, regardless of sexual orientation.

The first one from those remakes' trend which lasts till today, unlike the majority which came later, The Texas Chainsaw Massacre remake is worthy and valid, which followed a path somewhat different from the original, a bit away from that amateurism (many think that's what made the first film so creepy), but without economizing the suspense and blood. The direction from Niespel Marcus is quite stylish, the cast, despite only containing good looking actors, is good. It is really worthwhile.

I know one very similar to this movie and much better too, called "Stepmom" with Julia Roberts, Susan Sarandon and Ed Harris. The truth is that this drama (call it the novel would be too absurd) can have the most unsympathetic characters possible. Natalie Portman strives to give credibility to Emily, but the abuse of recurring return to the premature death of the daughter is the actress crippling any attempt to make her character more three-dimensional! Nevertheless, it is the best on the scene because her husband apparently indifferent and soothing, the conflicted ex-wife and the son verbally aggressive and nasty drawback is sufficient reason to abandon that Emily left the life in the midst of that family. It's a tearjerker poorly done and most obvious example of this is the final 30 minutes to extend into dialogue with another party of Emily solving not only the loose ends of the film as a whole, but of her life, as if only a simple conversation could unlock and enter the core of the personality and feelings.

Terrifying and eternal, The Omen is an immortal classic of the horror that overcame the fashion of horror movies with the supernatural theme/demonic of the 70’s in a great production. Telling the frightening story of an important politician who engages in a frantic journey after discovering that his adopted son is the antichrist, then humanity is in danger. The film has good performances from the entire cast, but especially for Harvey Stephens that even very young conveys the infantilism innocence with evilness of the true nature of their exceptional character and Billie Whitelaw (and scary) as the faithful and satanic Damien's nanny. Photography and gloomy soundtrack come together for the good performance of the cast to create a film that holds a distressing atmosphere from beginning to end.

I really didn’t get what was the movie trying to reach. People read a little brief of the story and think that we’re going to watch a typical movie about bullying, however the movie doesn’t really go that way.
Afterwards, towards some facts that envolve the professor, we’re taken to believe that the focus of the movie is another else. The film would go through to be centered in the prejudice which would be generated around the professor, however that thematic nucleus doesn’t get really along. On this possible approach of two polemic themes and that could be really well developed, the movie choses to make a superficial analyses of both, which basically frustrates the expectative from who’s watching.

The first one from those remakes' trend which lasts till today, unlike the majority which came later, The Texas Chainsaw Massacre remake is worthy and valid, which followed a path somewhat different from the original, a bit away from that amateurism (many think that's what made the first film so creepy), but without economizing the suspense and blood. The direction from Niespel Marcus is quite stylish, the cast, despite only containing good looking actors, is good. It is really worthwhile.

The Beaver is a great and obvious metaphor that unfortunately it sustains even when its argument proves untenable, especially in its 1st act. The narrative begins with the routine of the central character in tatters in an irreversible situation, but behold the beaver's figure is eventually likely to be accepted. The conflicts that would be natural are temporarily ignored and become valid from the middle, resulting in greater or lesser extent in other family members. Still here the director Jodie Foster, manages to extract sensitivity in sentimentality without falling completely, although the dramatic trajectory of the character is more than predictable but Mel Gibson commands it fairly good, even when the script doesn’t do to deserve such an effort. A drama that tries to establish a series of conflicts from an unusual premise, but the end results ending up worthy.