Reviews

An icon of Brazil’s Cinema Novo movement, the harsh landscapes of the country’s northeastern highlands somewhat resemble those depicted in American Westerns. Glauber Rocha, like Nelson Pereira dos Santos, focuses on oppressed farmers and landless laborers, though Rocha weaves in myth, folklore, and political allegory to create something more layered and experimental.

Aunque es una película un poco antigua ,no pasa de moda el arte del cine en ella ; aunque visualizamos gran tristeza, dolor , y llanto nos refleja la gran adversidad que como padres pasamos esas tormentas que aveces pareces interminables , pero que le demostramos a nuestros hijos siempre la sonrisa y la fortaleza de la vida .No solo es una película , es una enseñanza es una reflexión . Les invito a todos a mirarla debería una mil veces más ser premiada .

Truthfully, the conflicts portrayed are fairly standard family disputes, though the film tends to exaggerate them for dramatic effect. Michael Keaton's performance is a saving grace—the moment he mixes up his daughters' names is truly relatable.

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The film seems overburdened with themes it struggles to fully explore—likely a result of adapting a short story. While the VFX and action sequences are top-tier, the narrative feels underdeveloped. Every idea could use more substance, or the film risks collapsing into beautiful emptiness.

A cornerstone of Brazil’s first phase of Cinema Novo and one of Nelson Pereira dos Santos’ most significant works, it follows a family seeking survival only to face exploitation, oppression, and deceit. It vividly captures the struggles of the rural poor and the complexity of human nature.

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It is a silly film, and truly protofascist...but a ridiculously fun ride, all the same.
Paul Verhoeven's science-fiction creation has become something of cult film for those who feel that it is diamond far too rough to be appreciated by the potato eaters who enjoy more Jedi-based fare. Its special effects are as a bad as the dialogue, and I could have done with at least one actor who recited his lines like a real person instead of an ad for recruitment agencies.
But I would like to take the ride again.

While the show stumbles with implausible plot details and juvenile schemes, the core scam isn’t fully revealed until late in the game. The first half leans heavily into family drama, which may underwhelm genre fans. A more polished script could have elevated it further.

The production design is visually impressive, and the opening sequence is genuinely creative, especially in its depiction of fire, which feels remarkably authentic. Yet the plot feels overly conventional—another procedural mystery drenched in a dark, green-tinted filter that eventually becomes distracting. Combined with its sluggish pacing, the story never quite rises to match its visuals.

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The opening establishes a moody sci-fi tone with two impactful invasion scenes, but the film quickly loses steam. Despite strong ideas on paper, the budget constraints are glaring, and the visual storytelling falls short of realizing its full potential.

The narrative logic is weak, and the supporting characters are completely forgettable. The director seems confused about what the film’s core conflict should be, adding too many disconnected elements that muddle the storyline rather than enrich it.

By the time the credits rolled, I was still unsure what message the film had intended to convey. There’s no compelling use of technology, no striking visuals, and the performances feel forced. The narrative is flat from start to finish, leaving no room for emotional or dramatic payoff. It’s hard to tell whether the writers or the director actually knew how to shape a story.

The plot makes little sense, with every unexplained event conveniently attributed to some mysterious organization. A high-profile murder barely stirs public attention, and somehow a few journalists crack the case with almost laughable ease. That’s hardly believable. The pacing drags for a supposed mystery, and what I'd thought was meant to be foreshadowing turn out to serve no purpose at all.

For all its ambition, the story can’t quite justify its two-hour runtime. The urban werewolf premise is not without potential, but the film lacks a coherent mythology. We’re given no explanation of the werewolf’s origin, its abilities, its relationship with humans, or even the rules of transformation. The resulting world feels underdeveloped, and its muddled themes make emotional investment nearly impossible.

The narrative is deliberately split in two, with the Black nanny serving as the connective thread. The racial and class divisions in contemporary Brazil are laid bare in the uneasy bond between the white pregnant woman and the Black caretaker. Yet, instead of leaning into despair, the script cleverly subverts social hierarchy with a touch of female solidarity and queer desire.

Drawing on a Brazilian urban legend, this film fluidly shifts across genres under the stylized vision of its co-directors. Beneath the surface lies a scathing critique of social injustice and the marginalization of the underclass.

Adapted from the novel of the same name, this Peruvian film scratches at the surface of moral corruption within military institutions, merely points fingers at the hypocrisy and selfishness of the military, and lacks the depth to fully confront human nature, stopping short of offering a more nuanced social critique. Set in a 1950s military academy, the film exposes the contradictions and harsh realities of Peruvian society during that era.

Only during the final monologue does the director’s intention become clear. Yet the story focuses almost exclusively on the protagonist’s sexual awakening, sidelining his relationships with family and friends. His confusion and longing—essential elements of youth—are underexplored.