Mountains May Depart (2015)

Directed by Jia Zhangke
Country: China / others

Movie Review: The story behind “Mountain May Depart”, the well-structured drama from the celebrated Chinese filmmaker, Jia Zhangke, is divided into three interconnected parts representing the past, present, and future. Whoever isn’t familiar with the director’s previous works may be misled by the inaugural joyful tones of the film, which almost forces us to think of the word comedy. Yes, the film successfully extracts some laughs either, but is the dramatic side, together with a critical look at the society, that better characterize Mr. Zhangke’s films. The first segment, set in 1999 Fenyang, starts at the sound of ‘Go West’ by The Pet Shop Boys. A bunch of people is having fun in the course of a rhythmic choreography, and among them, we spot the main character, Tao (Tao Zhao), who often hangs out with her two best friends and suitors, Liangzi (Jing Dong Liang) and Zhang Jinsheng (Yi Zhang). While the former is a modest local coal miner who lacks ambition and leads an honest life, the latter is a boastful new rich who's among those who thrived due to the capitalism expansion in China. The two competitors have a few squabbles over Tao, who ends up choosing Jinsheng, not without difficulty and carrying a sense of loss in her heart. While the fresh couple makes all the arrangements for the marriage, Liangzi resolves to leave Fenyang city for good. The story then shifts to 2014, and we see Liangzi, now a married man and father, returning to his hometown with lung cancer, a consequence of many years breathing the coal mines' pestilent air. On the other hand, Tao is divorced and grieves the death of her father, whose funeral triggers the visit of her estranged 7-year-old son, now called Dollar (an obvious homage to capitalism), who arrives from Shanghai to pay his respects to granddad. The last segment, not so strong as the first two, transports us to 2025 Australia, where the aimless Dollar simply can’t communicate (a language gap) with his whimsical, messy father, and embarks in a relationship with his much older Chinese teacher who tries to regain some balance after a distressing divorce. Both feel misplaced and want to get in touch with their roots, a step that is manifestly more complicated than it seems. Seamlessly alternating between ironic and cerebral, the film doesn’t match its predecessor, “A Touch of Sin”, in terms of immediacy, but Zhangke’s hand is still clearly perceptible – desolated landscapes, complex feelings, and a sense of emotional void. Like in the beginning, the film ends with Tao dancing ‘Go West’, but this time, the circumstances are entirely different.

The Danish Girl (2015)

Directed by Tom Hooper
Country: UK / USA / Germany

Movie Review: In Tom Hooper’s pseudo-biographical drama, “The Danish Girl”, Eddie Redmayne plays Einar Wegener, a Danish painter who couldn’t go on with his married life after embodying Lili Elbe, his female persona. Einar was married to another bohemian painter, Gerda, performed tightly by Alicia Vikander, who, after the initial shock, becomes surprisingly supportive of her husband’s difficult decision of submitting himself to a sex reassignment surgery, a pioneering step in the gender transition prospect, since this fictionalized biopic is set in 1926 Copenhagen. Beautifully photographed by Danny Chen, who works with Mr. Hooper for the third time after “Les Miserables” and the acclaimed “The King’s Speech”, the drama exhibits a delicate sensitivity and is adorned with polished strokes, conferring it lyrical touches. It often induces a sort of relaxation when combining the vividly colored images, displaying the splendorous Danish architecture and interior settings, with the smooth musical score, but never forgetting to include the crucial emotion in order to compose the whole. We can follow how Lili changes from a primal state of confusion to a most inevitable, radical, and irreversible decision toward happiness. Everything started when Einar attends one of those recurrent boring parties dressed as a woman, immediately drawing the attention of Henrik (Ben Whishaw), a gallant young man who throws one first kiss, reawaking Lili’s true nature, once and for all. Being simultaneously considerate and perceptive, Gerda, who had initially agreed to a few ignominious therapies for her husband, gives up the idea that he can be cured. She deals with the fact with sadness, but is suddenly struck by a different hope when her drawings of Lily receive an enthusiastic welcome by the prestigious gallery she had been in contact for so long. The couple moves to Paris, and Hans Axgil (Matthias Schoenaerts), an art dealer who also happens to be Einar’s childhood friend, comes close and feels attracted to Gerda. This account of a strangely disarming relationship, adapted by Lucinda Coxon from David Ebershoff’s novel of the same, is given to us at a moderate pace and presented with a perhaps too polite artistry. As in “The King’s Speech”, Tom Hooper uses this premeditated refinement that bestows enough dramatic depth to “The Danish Girl”, without, however, achieving the same triumphant results.

Star Wars: The Force Awakens (2015)

Directed by J.J. Abrams
Country: USA

Movie Review: “The Force Awakens”, the seventh installment in the Star Wars franchise and the first part of the new trilogy announced by the Walt Disney distributing company, was intended to be a galactic epic. Within this specific genre, it manages to deliver a pretty decent plot filled with exciting battles, interesting new and old characters, and some nostalgia without falling in exaggeration. The film was directed, co-written, and co-produced by J.J. Abrams, who reinforces his ability to recycle former epics (“Mission: Impossible”, “Star Trek”) and successfully adds a few fresh, well-shaped characters to the super settings, to accompany the old ones who are still present. From now on, the main protagonist is Rey (Daisy Ridley), an obstinate and totally independent scavenger on the desert planet Jakku, who frees the lovely spherical droid, BB-8, from the net trap of a fantastic metallic creature. BB-8 secretly carries the map with the location of the now vanished Luke Skywalker, the celebrated Jedi that became the primary target of the forces of evil known as the First Order, represented by the malevolent commander Kylo Ren, his master, Supreme Leader Snoke, and the fanatical and nihilistic base leader, General Hux. The map was previously in the hands of BB-8’s owner, the courageous Resistance pilot fighter, Poe Dameron (Oscar Isaac), who was captured by the First Order stormtroopers. However, he managed to escape with the help of a rebellious soldier, Finn (John Boyega), a good-natured man who can’t stand being on the dark side anymore. To join up the strong newcomers - Rey, Finn, and BB-8 - we have the prevailing characters of Han Solo, resumed by Harrison Ford, Chewbacca, and the General Leia Organa. Also, the legendary golden humanoid robot, C-3PO, now carrying a red arm, has a couple of brief and yet funny appearances. It’s impossible to disregard the heightened production values: the dazzling cinematography by Mr. Abrams’s usual collaborator, Daniel Mindel; the efficient production design; the emphatic set decoration; the astounding special effects embellishing each scene; and last but not least, John William’s majestic score that has a large influence on our perception of the adventure, whether in face of triumph, danger, or loss. The screenwriters, opting to recreate rather than innovate, even grant us with another strenuous lightsaber battle, allowing us to revive the prior movies. The tactic was to establish new arrangements for some of the cherished elements of the past, providing a new rebirth for the saga.

The Hateful Eight (2015)

Directed by Quentin Tarantino
Country: USA

Movie Review: “The Hateful Eight”, Quentin Tarantino’s stupefying successor of “Django Unchained”, is blatantly more controversial than the latter, sarcastically blending delicate topics like racism and sexism with others, usually picked to infuse some morality in the tales, such as greediness, dominance, and subjugation. Taking advantage of his huge capacity to disconcert the viewers with fulminant action scenes and zesty dialogues, the celebrated director ridicules pain and human disgrace in such a way that it’s impossible not to laugh, even when the jokes jump out of the bounds of good taste. He deliberately makes use of the same hilarious tones and erratic routines as in “Django”, but this time, confining his eight untamed characters to a stagecoach stopover called Minnie’s Haberdashery. This way, he fabricates a sort of “Reservoir Dogs” from Far West. Divided into chapters, this three-hour mystery western set in the freezing post-war Wyoming, starts when the inexorable hangman, John Ruth (Kurt Russell), is heading to Red Rock, where the insolent tramp lady, Daisy Domergue (Jennifer Jason Leigh), who travels handcuffed to him, is going to be hanged for murder, guaranteeing him a large financial reward. Along the way, while running from a menacing blizzard, they bump into the General Marquis Warren (Samuel L.Jackson), a tricky black bounty hunter and ex-soldier who's popular for carrying a personal letter written by Abraham Lincoln. Later on, they’re joined by Chris Mannix (Walton Goggins), another cynic who adopts a fearless posture against the hangman’s hostility while brags he’s the new sheriff of Red Rock. Forced to stop at Minnie’s place, the trio will find three strangers – the Mexican Bob (Demián Bichir), the cocky British hangman, Oswaldo Maubrey (Tim Roth), and a cowpuncher called Joe Gage (Michael Madsen) – who coexist with the habitual presence of the quiescent Gen. Smithers (Bruce Dern). Strangely, the owners are absent and some of the new faces are seen as pretty much unusual. As expected from a script by Tarantino, this is nothing else but a deranged conspiracy that ends up in a few violent, blood-spilling deaths. Jennifer Jason Leigh is particularly remarkable, whether when acting cunningly or playing guitar and singing with a sweet voice, or even when exhibiting her face washed in blood, in an allusion to Stephen King’s Carrie. Tarantino’s eighth feature entertains continuously while using the same far-fetched puppets to fill his barbarous scenarios.

Next Time I'll Aim for the Heart (2014)

Directed by Cédric Anger
Country: France

Movie Review: Based on startling real events, “Next Time I’ll Aim for the Heart” was the perfect vehicle for the acting skills of Laurent Canet, who plays a sexually repressed French gendarme whose victims of his discontentment are random women. The film, consistently written and directed by Cédric Anger, who recently has also written the screenplay for Andre Techine’s “In the Name of My Daughter”, was adapted from the novel ‘Un Assassin Au-dessus de Tout Soupçon’ by Yvan Stefanovitch. According to its creators, this character-study is a work of fiction, thus, a personal interpretation of a true story. Franck Neuhart (Canet), the protagonist, is a gendarme, a solitaire, and a killer who hates mankind. The film opens in 1978, when two friends, riding their scooters, hit a deserted road in the middle of the night, heading to a friend’s party. 19-year-old Alice stays behind just to realize that her life is in danger when persecuted without any reason by a driver who hits her twice, sending her to the hospital in a critical condition. In a letter addressed to the police, the aggressor says to despise recklessness and promises to aim for the heart in his next move. It’s excused to say he wasn’t bluffing. Besides these atrocities, the deceitful Franck, who sees his transfer overseas being denied and often breaks the security rules of the gendarmerie, had set up a bomb in a suspected car, parked near the accident; the blow causes first-degree burns in a colleague. When alone, he inflicts severe physical punishments to himself, and not even Sophie (Ana Girardot), a married woman who takes care of his clothes and for whom he has a special fondness, is capable of changing him for the better. To tell the truth, he gets even bitterer and disgusted after sleeping with her, acting weird and feeling compelled to kill again, implacably and in an unstoppable way. It was curious to see how calm he remained when killing, and how berserk he went after finishing his despicable actions. Also, it was infuriating the way he treated his colleagues when dissecting the case. An overwhelming pressure starts to grasp him when it’s announced that the assassin is a gendarme and a homosexual. The anguished original score (plus The Velvet Underground’s tune) works the brooding mood while a sort of dark mystery embraces every moment of the film. Mr. Canet was meritoriously nominated for the best actor at the Cesar Awards.

Mustang (2015)

Directed by: Deniz Gamze Erguven
Country: Turkey

Movie Review: “Mustang”, the highly expressive debut feature from the French-Turkish filmmaker, Deniz Gamze Erguven, was attractively executed through an unobtrusive direction and a graceful acting. The screenplay, co-written by Erguven and Alice Winocour who directed the audacious “Augustine” three years ago, was pretty straightforward, depicting the lives of five teen orphaned sisters who are suddenly placed in the local ‘market’ by their grandmother and the uncle who raised them, awaiting the first chance to get married. The film starts on the last day of school in an ultra-conservative rural village in Turkey. The sisters are sad to say goodbye to their teacher who will be transferred to Istanbul the following year. The day is sunny and we can almost feel the scents of summer floating in the air. The beautiful and joyful flock, composed by Sonay, Selma, Ece, Nur, and Lale, is willing to enjoy the good weather and decides not to take the bus home, but rather walk, making a stop by the beach where they play games in the company of some boys, and then taking a detour into private grounds to grab some apples. Arriving home, they find the uptight grandmother acting furious, saying the whole village is talking about them because they were rubbing themselves on the boys during their little adventure on the beach. The afflicted grandmother and the stern uncle take security measures to avoid risks, so, higher walls are built, iron bars cover the windows, and the door is tightly bolted in order to confine them home until their marriage. The word is spread out to the village and the suitors arrive one by one to respectfully ask their hands, not before a virginity check-up is made to assure that the girls are conveniently pure. Meanwhile, the sisters disobey the orders, managing to escape and going to a soccer match. Their adventurous spirit wouldn’t be enough if they didn’t come across with an amiable van’s driver called Yasmin, who helped them getting to the stadium, and later on, befriends with the youngest sister and narrator, Lale. Among the girls, the latter is the emotionally strongest, the one who never stops trying to find a way out of the terrifying situation she and her sisters are involved. Ms. Erguven’s vision never goes astray and the approach was carefully outlined to extract the finest impressions from the excellent cast of newcomers. Only some segments of the script, especially the one that leads to the conclusion, could have been set up differently for better. Anyway, “Mustang” works as an eye-opener, demonstrating that some traditions can be extensively traumatizing.

Catch Me Daddy (2014)

Directed by: Daniel Wolfe
Country: UK

Movie Review: The bleak independent drama, “Catch Me Daddy”, envelops us in a gripping multicultural story set under the grey skies of the Yorkshire Moors, England. The newcomer Sameena Jabeen Ahmed plays Laila, a carefree Pakistani girl who runs away from his dad’s house to go living with her doped English boyfriend, Aaron (Connor McCarron). Her father is both concerned and ashamed, as well as her brother, Zaheer (Ali Ahmad), who goes after her with a group of unscrupulous mercenaries. At some point, the solution found to make Aaron and Laila give up was making Aaron’s mother a hostage and blackmailing him. The thugs attain their intents, but the story ends up in tragedy, bringing irreparable damages for everyone. In a small town with limited places to go, the chances of being found are higher. The harsh and stressful circumstances separate every single character from happiness. The ones who were trying to find some peace and change their lives are consumed by the darkness while the ones already living in the dark, like the middle-aged cocaine addicted and mercenary, Tony (Gary Lewis), sinks deeper and deeper in the obscurity of their actions. The plot, co-written by the debutant director Daniel Wolfe (also connected with the world of video music) and his brother Matthew, is disconcerting and profoundly severe, balancing quite well the violent and the emotional, as well as alternating between love and hate associated with the family. Some of the nocturnal images were deliberately pitch-dark, an understandable and justified option of Mr. Wolfe who also selected an eclectic score containing songs by Patti Smith and Tim Buckley. The cast, encompassing both experienced and non-professionals, was competent and convincing enough to make us believe that this story could have really happened. The nightmarish “Catch Me Daddy”, whose director has described it as a modern Western, leaves us suspended by its inconclusive finale. It won’t be a good option for the fans of mainstream cinema, and only the more optimistic ones will find a tiny margin for hope here.

Creed (2015)

Directed by: Ryan Coogler
Country: USA

Movie Review: “Creed” takes the ‘Italian Stallion’, Rocky Balboa (Sylvester Stallone), one more time into the boxing ring, this time not to defend his heavyweight champion title but to train the fearless, self-taught Adonis Johnson (Michael B. Jordan), the son of Apollo Creed, Rocky’s former tough opponent and later turned into a cherished friend. The film, sturdily directed by Ryan Coogler, who already had worked with Mr. Jordan in the excellent “Fruitvale Station”, begins with a very young Adonis putting up a fight with another kid in the L.A. youth facility where he spends his unhappy days. Adonis was born from an extramarital relationship and never had the chance to know his father, who died before he could see the daylight. Placed in isolation to calm down, Adonis, receives the visit of Mary Anne (Phylicia Rashad), his father’s wife who compassionately takes him to live with her. Seventeen years later, Adonis is well established in life, working in a respected financial company that provides him all the comfort he needs. However, he boils inside with an unstoppable energy, frequently mingled with anger, which has to be canalized somewhere. Unsurprisingly, he quits his job to become a professional boxer, even if that implies to cut ties with his adoptive mother who gets tremendously disappointed. But ambition and nerve are not everything, and the inexperienced Adonis acknowledges the need of additional training, the reason why he moves to Philadelphia and tries to persuade the old Rocky to teach him everything he needs to grab the title. He also catches sight of a noisy neighbor, Bianca (Tessa Thompson), a nightclub performer who becomes a supportive girlfriend. Along the way, both trainer and trainee have different battles to fight, but happily for them, the emblematic streets of Philadelphia are divided in two complementary ways, in which giving and receiving are shared in equal proportions. The word family acquires a very strong signification, increased with the last-minute encouragement from Mary Anne, who insists that Adonis’ legacy should be accepted once and for all. “Creed” cannot hide its crowd-pleasing nature, but shows a very entertaining side both in sports and drama. Even applying a few sentimental baits and picking up a couple maneuvers from the previous formulas, the film was still able to put a fierce energy and exciting agitation in the scenes, leading us to the probably most straightforward final combat from all the Rocky installments. In addition, the humor was very effective, and speaking of legacies, this is just the beginning of a new cycle named Creed, and it's heartbreaking knowing that Stallone’s Rocky may not survive the next sequel.

La Sapienza (2014)

Directed by: Eugene Green
Country: France / Italy

Movie Review: In Eugene Green’s “La Sapienza”, a strenuous camera guides us through architectural views and details before introducing us to Alexandre Schmidt (Fabrizio Rongione), a respected French architect who's being awarded for a lifetime’s work. Lyrical music floats in the air and Alexander’s speech, which referenced the human progress and praised the environmental consciousness, despite routine, pleased his wife, Aliénor (Christelle Prot), a dispirited psychoanalyst who still suffers in silence with the early death of their only child. The insomniac Alexander also lives embittered, haunted by the ghost of a former colleague and kind of a rival, who ended up shooting himself in the head. This story has a parallel with the rivalry between the renowned architects Borromini and Bernini. The former’s work is still being studied by Alexander, who considers it genius and mystical while he compares the latter’s with his own work - rational and respectful of powers, hierarchies, and rules. The couple faces some rebuffs on their respective professions and decides to make a trip to Italy in order to think things over. While passing by Stresa, on their way to Rome, they stop to assist two young siblings - Goffredo (Ludovico Succio), a recently graduated who’s about to go to Venice to study architecture, and his sister, Lavinia (Arianna Nastro), who just had another of her frequent and inexplicable dizzy spells. Aliénor thinks she can help her and refuses to leave the city until Lavinia is completely recovered while Alexandre takes Goffredo to Rome in a sort of a study trip. All four protagonists will learn how to liberate their own ‘ghosts’ that stubbornly remained imprisoned in them for so many years. Whereas the adults unexpectedly become students, the youngsters become teachers, and the light that brings perceptiveness gradually invades the dark spots of their lives. Mr. Green, influenced by the style of Manoel de Oliveira, Antonioni, and Pasolini, engenders a fascinating conception, a healing process that contemplates the human existence. Risky, complex, and perhaps too much articulated in its dialogues, “La Sapienza” is formal in the methodology and yet liberal in the message.

Cartel Land (2015)

Directed by: Matthew Heineman
Country: USA / Mexico

Movie Review: Matthew Heineman’s documentary, “Cartel Land”, clarifies what’s happening on the both sides of the US-Mexico border, depicting two different realities and leaving us speculating about the tenuous line between the right and wrong. The film opens with a scene set in Mexico, in which some men, cooking meth with the consent of the Mexican government, explain they’re aware of the harm they’re doing but have no choice since they’re living in poverty. The film then turns our attention to Tim 'Nailer' Foley, an American vigilante who operates by his own initiative on the American side of the border, trying to catch Mexican intruders and protect the nation. He says that his past was characterized by abuses and addiction, and 18 years ago, and for the sake of his daughters, he resolved to hunt fiercely any cartel’s men who attempt to invade his land. On the other side of the fence, in the problematic state of Michóacan, we can follow an indominable and fearless doctor, Jose Manuel Mireles, who leads the Autodefensas, a group of vigilantes that protect the people from drug lords and thugs who belong to the most dangerous Mexican cartels. Some witnesses describe the horrors lived by the people, and the common massacres to entire families as retaliation for problems related to narcotics. Slowly, the local citizens start to be encouraged by Mireles’ illegal militia, whose members refuse to succumb at the hands of the barbarians without a fight. Conquering more municipalities than it was initially thought, the Autodefensas face a new issue, which is not exactly new in their minds: the government corruption, outspokenly denounced here by tough words, disquieting images, and perceivable examples. Despite Mr. Heinman’s bravery, “Cartel Land” is unorthodox in the manner it addresses and toggles between the stories. The final part even has a hint of soap opera when we learn about Mirele’s domestic troubles, caused by his tendency to have affairs with much younger women. Even momentarily heedless, the film proves to be strong when exhibits in loco the brutality and constant insecurity of the operations whose intention is to stop the terrifying actions and shameful business carried out by the merciless organized crime. Even the ones who seemed to be fighting for the right cause, like Mirele’s right hand, Estanislao Bertran Torres, show their real face and irresolution by joining the vicious government. Isn’t easier this way?

A Borrowed Identity (2014)

Directed by: Eran Riklis
Country: Israel / other

Movie Review: In Eran Riklis’ new drama, “A Borrowed Identity”, the unruly Israeli-Arab coexistence remains as a topic, but this time slightly different since the story focuses on a Palestinian-Israeli boy who tries to impose himself against discrimination. The script was co-written by Mr. Riklis, who delighted me in the past with titles like “The Syrian Bride” and “Lemon Tree”, and Sayed Kashua, the author of the novel on which the movie was based upon. The story starts in 1982 in Tira, Israel, where the young Eyad, a very intelligent and perspicacious kid, proceeds to another climbing of the street utility post that holds a TV antenna on its top. His father, Salah (the very known Ali Suliman), who’s equally very smart but was relegated to be a fruit picker when he decided to involve himself in politics, tries impatiently to tune the Arab channel on his old TV. He’s a revolted man who’s not afraid to demonstrate and express his convictions, often called terrorist by the Israeli locals, and whose dream is to send his son to the best college in Jerusalem. Meanwhile, Eyad, now totally recovered after falling from the utility post, feels abashed at school when he has to refer his father’s profession - in his juvenile innocence, he rather insists that Salah is a terrorist, a statement that conducts to a strict punishment inflicted by the school’s principal. The story then shifts to 1988, time when the grown-up Eyad (Tawfeek Barhom) is accepted at the college. Once there, besides being a victim of stupid provocations and having accent problems in speaking Hebrew, he falls in love with the beautiful Naomi (Daniel Kitsis) and finds real friendship when he joins a college’s volunteer program and meets Yonatan (Michael Moshonov), a youngster suffering from muscular dystrophy. As the years pass by, Eyad faces some challenges such as how to live the ‘prohibited love’ with Naomi and how to cope with the deterioration of his best friend’s health condition. Related to this particular last topic, he finds the right solution to the injustice he was being subjected and steals his friend’s identity in a desperate attempt to have the same perks given to the Israelis. Both fanaticism and generosity are detected on the Israeli and Arab sides, and the director never assumes extreme postures. Mr. Riklis’ unnerving filmmaking style didn't smother the several critical points that are brought up about the conflict, turning the film into a bittersweet experience that leads to a variety of distinct feelings and sensations like sadness, loss, compassion, and liberation.

Crimson Peak (2015)

Directed by: Guillermo Del Toro
Country: USA / Canada

Movie Review: The specialty of the Mexican filmmaker Guillermo Del Toro (“Hellboy” and “Pan’s Labyrinth”) is to interweave fantasy and horror. His latest, “Crimson Peak”, proves his effortlessness in both genres and also adds a strong dramatic component to a plot that, despite some regular clichés, manages to solidly hold our attention. Actually, Peak is the most successful collaboration between Del Toro, who also co-writes and co-produces, and the screenwriter Matthew Robbins, after “Mimic” and “Don’t Be Afraid of the Dark”. Beginning in 1887, the tale focuses on Edith Cushing (Mia Wasikowska), an unconventional independent American writer who is often visited by the ghost of her mother. So, ghosts are a reality and play an important part in her novels, even if metaphorically. When Sir Thomas Sharpe (Tom Hiddleston), an English aristocrat who comes to the US with the intuit of finding a wealthy investor to his unappealing invention, is declined by Edith’s father, Carter, he turns his eyes into the eager-for-love Edith, who falls for him in a blink of an eye, despite the warnings of her father and also of her childhood friend, Dr. Alan McMichael. Carter makes some arrangements to free his daughter and get rid of Thomas, who is constantly followed by his abhorrently jealous sister, Lucille (Jessica Chastain), but ends up violently murdered by a sinister figure, leaving Edith even more vulnerable on the matters of the heart. She resolutely agrees to depart for London, to live with Thomas and his diabolically manipulative sister at Allerdale Hall, a once resplendent, isolated old mansion that hides evil secrets, dark energies, and gruesome occult presences. Del Toro works together with the Danish cinematographer, Dan Laustsen, to carefully compose the dense visuals, enhanced by the period costume design and embracing the dismal atmosphere extracted from the place. You can imagine how difficult is to create a horror film nowadays without falling in the same stratagems used over and over again. Thus, during these last two years, only a couple of them could impress me, cases of “Conjuring” and “It Follows”. “Crimson Peak” lacks truly creepy moments and is definitely not on the same level of the cited films, but what’s curious is that I was never bored and the film gallops in an ominous crescendo towards its agitating finale. Jessica Chastain, here in a delightfully evil form, shares a great responsibility in this achievement.

Man From Reno (2014)

Directed by: Dave Boyle
Country: USA

Movie Review: “Man From Reno”, a bewitching independent neo-noir film, may trap you in its mysteries and moods while transmits all the anxiety and uncertainty that its characters are subjected to. This is the second time (the first was “Daylight Savings” in 2012) that the screenwriters Joel Clark and Michael Lerman join efforts with the co-writer and director Dave Boyle. They were able to fabricate a wonderful story, set in San Francisco, and involving a popular Japanese writer from Tokyo, Aki (Ayako Fujitani), who in the face of a creative/identity crisis, decides to stop writing and vanish during her press tours in the city. After an unenthusiastic meeting with some old friends from college, she stealthily checks into a hotel, where she meets an astute, seductive, and handsome man called Akira Suzuki (Kazuki Kitamura). Aki feels so lonely and depressed that she ponders for several times about using the razor she carries in her purse to kill herself. It’s Akira who cheers her up and gives her the confidence she needs to overcome the present situation – a sort of a new breath that soon collapses since he’s not the man she thinks he is. After sleeping with her, Akira disappears without a word from the hotel, leaving a suitcase and a trail of mysteries behind. From this moment on, Aki starts being followed by enigmatic individuals who scarcely are whom we think they are. In parallel, San Marco County’s sheriff, Paul Del Moral (Pepe Serna), runs over a nameless Asian man, after spotting an abandoned car, and starts to investigate his disappearance from the hospital where he was taken. Later on, he’s informed about a dead body found in the river shore. The man, in spite of identified as Akira Suzuki, is not the same as the one who met Aki in the hotel. The determined sheriff and Aki, who is guided by an acute intuition gained in her books, will try to search for something palpable in order to solve the puzzle. Sometimes vague and disorienting, sometimes precise and self-assured, “Man From Reno” plays with your curiosity in a complex, thrilling exercise, which not being totally satisfactory, presents strong elements to compose a solid detective story. This includes inexplicable clues, secret words, dangerous chases, mistaken identities, undercover paparazzis, an eerie soundtrack, and a constant, if subtle, tension associated to its Hal Hartley-esque conspiracy.

Meadowland (2015)

Directed by: Reed Morano
Country: USA

Movie Review: Directed by the cinematographer Reed Morano from a screenplay by Chris Rossi, “Meadowland” is a poignant drama that demonstrates how people can descend into very dark places after going through a deeply grievous situation. The unimaginable happened to a happy couple of New Yorkers, Sarah (Olivia Wilde) and Phil (Luke Wilson), whose life will never be the same after their son’s disappearance. Everything happened when Phil decided to stop the car at a service station to buy some drinks, taking the opportunity to send the little Jessie to the restroom. Phil becomes restless when Jessie, who had locked the door, doesn’t answer to his calls. When finally inside, they face an excruciating reality: Jessie has vanished through a backdoor that connects with a garage where nobody was working at the moment. One year after, we find the devastated Sarah at home, still under the effect of lithium, getting drunk in front of Phil, who misleads us to believe he’s coping a bit better with the situation, taking into account his genuine concern with her and observant remarks. With them, is Phil’s brother, Tim (Giovanni Ribisi), a melancholic character, with a guessable troublesome past, who asked to stay at their place for an undetermined period of time. He clearly functions as a sort of an extra burden to the pair of sufferers whose emotional distance increases every day, making them suitable to fall into questionable behaviors both at work and outside work. Sarah is a school teacher, and after the initial attention with a problematic girl whom she followed the steps of listening to heavy metal and cut herself on the arms, she develops a fixation into another student, Adam, who has Asperger’s syndrome and is rejected by both his mother and schoolmates. She urgently tries to fill her emptiness by acting like his mother. In turn, Phil is more and more unmotivated in his duties as a police officer and even the therapy sessions he continues attending don’t seem sufficiently rewarding to make him recover the lost balance. He shows a pitiful moral degradation and a hopeless lack of confidence that made me uncomfortable. The experienced casting director, Phil Hicks, did a great job since these actors, with no exception, made the difference in turning a pretty conventional theme into a compelling dramatic creation. Only the surprising final scene sneakily attempted to be something more transcendent than it was really felt. Mr. Morano revealed sensibility in terms of camera work and a complete control of light in order to extract warm, opaque gleams from the visuals.

Bone Tomahawk (2015)

Directed by: S. Craig Zahler
Country: USA

Movie Review: “Bone Tomahawk” is an atypical western. To be more precise, it’s a nutty blend of western in its ancient tradition of ebullient battles between cowboys and Indians, dry comedy, and a gory horror thriller. The screenwriter and debutant director, S. Craig Zahler (also a musician, novelist, and former cinematographer), showed sufficient arguments to let us expectant for his future cinematic creations. The fantastic cast manifests a salutary diversity: from valued veterans, cases of Kurt Russell and Richard Jenkins, to solidly established actors such as Patrick Wilson, to auspicious young talents like Matthew Fox and Lili Simmons. The film opens with a man cutting a human throat and explaining to his accomplice that there are 16 major veins in the neck and that he needs to cut them all. Minutes later, he’s killed by an arrow shot that flew mysteriously from nowhere. It’s a sufficiently interpretive premise for the grueling scenes that will come later on, especially in the last 30 minutes, when the brutality assumes total control of the story. Set in a tiny town, the story focuses on the earnest sheriff Franklin Hunt (Russell) who seemed more than happy to embark on a perilous mission across the old Wild West in order to solve the mystery related to the disappearance of the town’s doctor, Samantha O’Dwyer (Simmons). Assisted by his two quirky deputies - the irreverent and boastful gunman, John Brooder (Wilson), and the decrepit and jocular, Chicory (Jenkins) - who are so contrasting in nature that end up complementing each other, the brave sheriff sadly concludes that the woman was abducted by savage Indians who, in addition of having no name nor language, also have the particularity of being cannibals. Even seriously wounded in a leg, Samantha’s husband, Arthur O’Dwyer (Fox), decides to join the mission, regardless if his dragging pace lets him momentarily behind. “Bone Tomahawk” can be described as a super-violent, unsparkling western adventure whose excessively sanguinary atrocities will be the first thing to become retained in the mind of the majority of its viewers. In my personal case, the often-unreasonable wry humor and the well-chosen settings were the aspects I most cherished.

Tale of Tales (2015)

Directed by: Matteo Garrone
Country: Italy / others

Movie Review: Competent Italian filmmaker, Matteo Garrone, who over the last few years has been giving us memorable films such as “Gomorrah” and “Reality”, hauls us into three Baroque tales from the 17th century, in which the real and the unreal go hand in hand. The director, who exquisitely and efficaciously brings in mystical elements and dreamlike sequences, mixing them with the ethereal music by Alexandre Desplat, combines fulgurant medieval settings to host the odd stories, loosely adapted from the fairy-tale collection ‘Il Pentamerone’ by the Neapolitan poet, Giambattista Basile. The first tale tells us about an anguished queen (Selma Hayek) who can’t cope with the impossibility of having children. However, a sinister occultist offers her the solution – the king (John C. Reilly) has to kill a sea monster and rip its heart out, to be cooked by a virgin and eaten by the queen. That way, she will become pregnant immediately. The vaticination comes true, and the queen acts radiant, even losing her husband in the risky sea hunt. What wasn’t explained, was that the virgin who cooked the heart would also get pregnant of a boy who looks exactly the same as the prince, and that they will be forever inseparable. Another tale takes us to an odd king (the unique Toby Jones) who lives with his young daughter, Violet (Bebe Cave). While the daughter sings to him, his attention goes entirely to a flea that hops on his hands. Over the following years, he secretly nurtures the flea, which turns into a gigantic creature. When the flea dies, he decides to exhibit its skin and give his daughter as a bride to whoever guesses its origin. A brute Ogre was the one who wins the trophy, taking the terrified Violet to his dungeon in the highest of the mountains. The last tale is about a lustful king (Vincent Cassel) who falls in love with the angelical voice of a woman whom he has never seen the face. This woman is a wrinkled old woman who surrealistically manages to become young again, leaving her aged sister lonely and jealous. I have to admit that my enthusiasm was let a bit down by an out-of-the-blue conclusion that certainly hides inscrutable philosophical meanings. Anyway, “Tale of Tales”, the first English-language film from Mr.Garrone, bewitched me somehow with its extraordinary, recondite mood.

Mississippi Grind (2015)

Directed by: Anna Boden, Ryan Fleck
Country: USA

Movie Review: If you’re in the mood for those pungent dramas about losers, gamblers, wanderers, solitaries, and despairing human creatures that inhabit the face of the Earth struggling with financial problems and family disillusions, “Mississippi Grind”, may be a splendid pick. The meritorious performances of Ben Mendelsohn, playing a vicious poker player who ultimately is going through a phase of bad luck, and Ryan Reynolds (replacing Jake Gyllenhaal), as a sympathetic younger gambler who loves to talk to people and charming them with amazing stories about other gamblers, are sufficient motives to follow the film. The disheartened Gerry (Mendelsohn), an absent father and divorced real estate agent whose life is in a complete mess, slowly approaches the Iowan casino where he daily tries his luck. He wants to win so badly, so he can pay his giant debts and regain the confidence he has lost in order to reconnect with his little daughter. While at the poker table, he gets fascinated with Curtis (Reynolds), who immediately draws his attention. Gerry truly starts to believe that Curtis can be the one who can change his luck. Both become friends, setting off on a road trip in which a few interesting encounters and episodes inject some more substance than just the gambling itself. The destiny is New Orleans, but underway, they make a couple of stops. The first is in St. Louis, where Curtis visits his girlfriend, Simone (Sienna Miller), at the house where men can find companionship. Once there, Gerry nurtures a special fondness for Vanessa (Analeigh Tipton), a sweet girl who wants to change her life and enthusiastically shows him some magic tricks. Then, a big bet is waiting for the avid Gerry in Memphis, but once again, he leaves empty-handed. Before reaching the destiny, they make a little detour to Little Rock, where Gerry meets with his ex-wife. Shamefully, he falls into the temptation of trying to steal cash from her. Failure after failure, the two friends are daring enough to sometimes play with their lives. Are they condemned to fail forever? The mood adopted by the American writers/directors, Anna Boden and Ryan Fleck ("Half Nelson"), is reminiscent of Robert Altman’s films from the 70’s, whereas the musical score – a blend of old blues and other westerner tunes – supplies the appropriate flavor to consolidate its dynamics.

The New Girlfriend (2014)

Directed by: François Ozon
Country: France

Movie Review: Forceful actor Romain Duris, despite a bit funny dressed and acting as a woman, breathes some charm and certain glamour in the brand new drama “The New Girlfriend” from the admired French helmer François Ozon, who steadily carried out the screen adaptation of the Ruth Rendell’s short story of the same name. Anais Demoustier and Isild Le Besco play respectively Claire and Laura, two inseparable childhood friends who fortuitously meet their future husbands in the same night. For Claire, it was love at first sight, and she’s in a happy marriage with Gilles (Raphael Personnaz), who may be described as an open-minded, hard-worker, reliable man. Laura was also happy with David, but she dies shortly after giving birth to a beautiful baby daughter. Claire had promised she would take care of Laura's husband and child if something happened to her. However, after Laura's funeral, she persists in avoiding David, clearly struggling to cope with the painful loss. One day, without notice, she decides to stop by David’s house, accidentally discovering an unsettling secret, which only Laura was aware of: David was feeding his baby, dressed as a woman. After the initial shock, Claire starts gradually understanding and accepting David, who makes clear that he really feels the urge to dress and be a woman, regardless all the intimidation of having to assume it publicly. Claire, terribly confused at first, suddenly takes an underlying pleasure in shopping with David, now called Virginia, and even agrees to join him for a weekend at Laura’s country house. On that weekend, during a transgender show at a local nightclub, David is profoundly touched by the performance of the artist. From that moment on, feelings grow a bit messy and blurry at a certain point, a fact that didn’t stop me from following the course of events with a zealous interest. Mr. Ozon, who proves to be a legitimate filmmaker, grabs some moods from Almodóvar, yet giving priority to a seductive moderation over exuberance, and also from Xavier Dolan, with the particularity of being slightly more humorous and less staged. This is a reliable choice for an awesome matinee.

Gabriel (2014)

Directed by: Lou Howe
Country: USA

Movie Review: Well explored in its thematic and evincing a doleful temperament, “Gabriel” is a crushing drama directed by Lou Howe and starring Rory Culkin as the title character, a psychotic young man who struggles to find some meaning in a life that has been tough to him since he was a kid. The opening scene, where Gabriel, traveling in a bus, offers a cigarette to a little girl and then replies ‘we’re just fucking around’ to her mother when she asks what he was doing, is perfectly demonstrative of how this affected character can behave. Anxious, shaky, and sometimes insolent, the fatherless Gabriel delays the re-encounter with his worried mother and exemplary brother, just to try to find Alice, a former girlfriend whom he wants to marry with, even if he doesn’t see her for a couple of years. This fixation drives him to actions whose consequences are not less than devastating. Before that, there’s time for him to feel overwhelmed and act strangely in front of his family, repeating ‘I’m not my dad’. This statement comes from the fact that he blames his mother and brother for the suicide of his father, the main cause of his trauma. Only his grandmother patiently calms him down for brief periods and forgives his reproachable posture. In turn, his mother, despite acting endearingly, is not much of a help, especially when she says: ‘I couldn’t fix your dad after trying for so many years. And I can’t fix you either’. It’s sad to realize that Gabriel can’t have his own space, as well as the assistance he needs to revitalize his confidence and build the future he dreams – ‘I just want to live like a normal person; have a job, a wife, a life!’. Even so, on a darker scenario, it’s also sad that his urgent actions don’t have an acceptable fundament, being just a desperate attempt to stop the anguish and the restlessness that never leave him. Is Alice the real solution for his displacement? Rory Culkin gives one of the best performances of his career, conveying a believable, painful delirium that is hard to forget.

Goodnight Mommy (2014)

Directed by: Veronika Franz, Severin Fiala
Country: Austria

Movie Review: “Goodnight Mommy” is an Austrian psychological horror-thriller, produced by Ulrich Seidl, and written and directed by Severin Fiala and Veronika Franz. The collaboration between Mr. Seidl and Ms. Franz isn't recent, since the latter was the screenwriter of “Dog Days”, “Import/Export”, and the “Paradise Trilogy: Love, Faith, and Hope”, films that projected the career of Ulrich Seidl as a film director. A careful examination of its wryly-dark tones and incisive procedural techniques can tell us right away that Seidl was an influence. As for the story, it works quite well as a quietly disturbing tale that develops in a crescendo, haunting us with its eerie visuals and baffling us with its mysteries. If you liked Lanthimos’ “Dogtooth”, the masterpiece of the genre, you will probably connect to “Goodbye Mommy” whose scenes inside an isolated house in the Austria suburbs, involving the members of a family in a sort of captivity, might provoke similar sensations and claustrophobia. Nevertheless, the plot’s final twist didn’t have the impact that should have had in order to culminate the film in a brilliant way. For me, it worked more like a gimmick than a real twist. Two active and clever twin-brothers, Lukas and Elias, welcome their mother, a TV hostess, after she had been submitted to a facial surgery. Their time is divided into exploring the fields around the isolated house, raising beetles, and feeding stray cats. Gradually, their behavior grows harsh and their posture changes to bitter, after a few incidents that make them suspect about the true identity of their mother who always hides her face under bandages. The situation is aggravated when the intriguing mom sternly communicates the new set of house rules, so she can rest and recover from the surgery, a recent divorce, and an allegedly obscure ‘accident’. Doubt persists till the last act where the kids make their mother a hostage, and the film becomes slightly gory. Neurotically shadowy, “Goodnight Mommy” can provide you with a restless time.