jramalho Reviews

The Braves (2021)

A very good film about dreams and friendhsip

[8/10 · 2 February 2023]

It a nutshell this is an emotional and touching well-written film, about dreams and friendship as they are tested by the unavoidable roadblocks that come in the way, and without which there would be no drama.

In addition it benefits from being partially staged in a theater environment and, although this theme ("acting" in a play within the film) is not new (neither is the American dream trope) it. Does work, and both co-leads are great in addressing and questioning how what they have had so far is being shaken, and is evolving.

The only less positive point is that the plot will surprise no one. In fact, all I though she chose well, none of the different directions the writer-director could have gone with would be surprising. Regardless, this is a warm and worthwhile film.

The Devil's Hour (2022– )

You have to buy into the premise. I couldn't

[5/10 · 14 November 2022]

The rating is for mood (maybe sometimes too much mood), pacing and acting. In that this is an excellent series, intriguing, focused and with almost no filler. As many others have pointed out there are clues everywhere, and thinking about them is stimulating, whether you "get there" or not.

The problem (the other five stars), as always, is whether you buy into the main premise or not, once you figure out what that is (final episodes). Without giving away any spoilers, to do that in this particular case you must consider that, within the series framework there is a "wrong" and a "right", and that the former echoes through the timeline, causing ripples and decisively influencing characters. While there are interesting consequences that one can think about (not just the ones the series uses, which I could not buy into), this is a leap that I just could not make.

Station Eleven (2021–2022)

A different, very good, Station Eleven

[8/10 · 20 March 2022]

I don't like to be the person that starts a review with "yeah, but its not really like the book", but there seems to be no escape in this case I really enjoyed the series. Although based on previous pandemics it was a very interesting meditation on what a "really bad COVID" might look like. Therefore, it was not only timely, but put in question what we value in life, how we put a hierarchy on things/behaviors (however informally), , what we hold on to, how we sacrifice in favor of others or a "greater good" (or do not), how we relate to one another, how, why and what we chose to rebuild/preserve after the collapse of civilization, what the role of chance is. In the latter regard, as as a comic book enthusiast, the survival of a single unknown graphic novel amid all the Shakespeare, was endearing and reminded me of the classic SciFi novel "A Canticle for Liebowitz" by Walter Miller.

Overall, the problems with "Station Eleven" are the same with most other shows that adapt great books (I loved the original novel): length and linearity. There is really no reason for the 10 episodes, and the series seems to drag on at different points. Also, what was a rich tapestry of possibilities at how to face an unspeakable world (Kirsten , The Prophet, Sarah, Jeevan, Frank, Clark) is reduced here to a linear and tidy "Hollywood-style" narrative, notably in terms of the Prophet. Although I can appreciate the rationale for a sort of healing process ending, it did not feel right, not in terms of differences to the source material but for the series in itself, and how it was set up. I really wanted to give it a 10, but was not wholly convinced.

The Souvenir: Part II (2021)

Not better, not worse, than part 1. Not bad, and interesting from a not-obvious perspective

[7/10 · 1 March 2022]

The film will be rated approximately the same as The Souvenir, you either really appreciate the approach, really don't, or find some valuable insights and merits.

I did not see the films back to back, so was immediately put off by the way it delved into the aftermath of Anthony's death without any background. If it were a TV series no problem, but this is supposed to be an independent film. However this actually worked in exploring the here-absent Anthony from a different perspective, as a presence the character must endure/overcome in different ways: emotionally, sexually, artistically. The latter leads to more "arty" discussions that will certainly put off those who don't appreciate the vibe.

The grief of the main character is more believable here in the absence of Anthony as the relationship never really was convincing in the previous film. And the way she sublimates it in her art was very interesting, leading to baffled comments from her co-workers, colleagues and professors. The lead, however, remains in my mind a miscasting, although clearly under a lot of pressure (as a stand in at different levels for, basically, two strong women). However, as in The Souvenir, Part 2 will make much more sense for those with references/context than to a naive audience. Film is not life and vice versa, as is often stated.

The Souvenir (2019)

It is a filmakers film.

[6/10 · 27 February 2022]

And the "universal acclaim" it was labeled with did it few favors. It is an interesting, independent, self-contained sort of movie, that is as captivating as you either recognize the references/context (at all levels, as the film is not great at framing either) and you overlook the flaws. It is a personal story with all the issues that come with such a choice. It perhaps made little sense for it not to be so (either more fiction or using real names), but we are not the filmmaker or her fiends/generation. While there is tension of a poorly chosen relationship, and the photography and soundtrack are excellent, there is always something wooden in the delivery that makes us question why anything like this would happen.

In that regard, and I'm clearly at a minority here , I thought Honor Swinton Byrne was not good/convincing at all for/in the lead role (Tom Burke was great). Then I read the way her "script" was planned (unscripted and based on the filmmakers diaries, with instructions to improvise), so it perhaps is not her fault at all. I understand the choice, it just didn't work and was unfair for someone who is still clearly inexperienced, and is acting almost solely on presence. The inexperience and confusion were that of the filmmaker in the original relationship, not translatable, in my opinion, to an actor in a role portraying those things.

Memory Box (2021)

Two Different Levels

[8/10 · 22 February 2022]

This was a really interesting film. For me it had two main components. One is emotional, linking different stories of war-torn Lebanon in the 1980s, and how one links (or does not link) memory (and regret and denial) with heritage for a younger generation that never knew the country. For me personally, it was amazing how many musical references I could catch (all of them). On that level the film is admirable, engaging, and one can see that all involved partake in what is a deep connection, and catharsis that celebrates survival, however it was achieved. That aspect is worth a 10/10.

However, there is another aspect, which is the structure of the film itself, and what it leaves unexplored as a narrative. I found that some issues, notably related to context and who many of the characters were and what become of them were lacking. That part was not really as convincing as it could have been.

Memoria (I) (2021)

It is not a narrative film, it is a meditation

[4/10 · 1 February 2022]

To me this is the main issue with Memoria. For example, the IMDB question about spoilers is not even needed, there can be basically no spoilers when reviewing this film, since the "narrative" (can't really call it that) is fragmented and merely the pretext for the reflections the movie undertakes on several clever memory-related topics (notably the reality of recollection), from the simple perspective of the experiences concerning a single human individual, to the collective thoughts of a society as a whole. In that vein the characters and some movie conventions (the classical journey of the main character, although we are never sure what it exactly is) are used as a sort of vessels.

As long as that is accepted I found that most of my criticism (which would put me firmly on the side of "bad" reviewers) fell off the wayside, and I enjoyed this beautifully shot contemplative piece for what it was.

But why didn't I rate it higher? Frankly because I was underwhelmed with the meditation itself or the tropes enveloping it (as I saw them), finding some of them trite and even ridiculous. Meditation around different issues comes also from some sort of familiarity, and I was not convinced that the filmmaker was not merely a tourist in this universe, rather than someone with a particularly deep insight.

This sort of approach is, of course, totally acceptable, just not something I could relate to here, as I could in other films he has done. And thus issues such the length of the film (as well as some of the sequences) became a problem, which would not have been the case had I felt fully in sync with the piece.

Albatros (I) (2021)

A short fim, expanded

[5/10 · 1 February 2022]

The structure of this film is classic in character study: a first part focused on establishing the protagonist as a well-adjusted and integral party of his community, a second part showing his isolation and despair following a traumatic (and stupid) incident that throws his life off its carefully constructed rails.

The problem is that each of these parts is far too long and the underlying context (the societal issues with farming in the first part, the mental issues dealing with guilt in the second) are barely noted besides some small moments that the filmmakers almost seemed obliged to put in, and this could have provided better context and depth to the narrative. Although these issues can be guessed, this makes it harder to care, despite the excellent work by Rénier in the lead role.

The Matrix Resurrections (I) (2021)

It is exactly what it could be

[6/10 · 26 December 2021]

Is the original Matrix better? Yes, duh.

Its this worse than the other two of the "trilogy" that never were really needed? No.

Did this Resurrection need to happen? No. No Resurrection "needs" to happen anyway.

If it did happen, as it obviously did, did it need to look more or less like like this? Probably. With all the self-referential Meta and clever (often funny) tricks; from the name "Binary" (and the duality implied, which is at the core of the universe) and Matrix-As-Game, to Neil Patrick Harris and Déjà-Vu.

This is a smart script, unlike others I did not find it confusing or boring at all. The film is limited by its original matrix (pun intended), but enjoyable overall. It adds very little, and it tries the usual explain-by-not-explaining strategy.

But what else was it supposed to do? Not exist? But it does, so... Just take the pill and move on.

Cry Macho (2021)

A different lead might have helped

[4/10 · 21 September 2021]

I had one problem with this film, but it did spoil it for me almost from the get-go. Clint Eastwood is, unfortunately, simply not believable as this type of lead. The posture, the demeanor, the movements, but especially the breathing and weak voice (Picard came to mind) are all understandable for someone his age (and not many of us will reach it, let alone looking like that), but that is exactly why he should not have been cast as the lead, brave as though that is. Once I noticed it this the plot and all subplots come tumbling down, nothing seemed believable, and I started to complain of details I might not even notice with a different lead dynamic. The story, the romantic undertones, the Oedipus issues, even the acting. Clint Eastwood is still a very good filmmaker, surrounded by talent. I enjoyed the setting and much of the photography and actually think that many of the flaws mentioned by other reviewers would be half-forgotten if this film had been done, say, at the time of Gran Torino, and we could feel the energy and drive beyond the tiredness and regret, not only the latter components.

The Tsugua Diaries (2021)

Some loss in translation

[6/10 · 1 September 2021]

Not in a language sense. You can feel the creative energy involved in the project. You can also feel the doubts, fears and tensions of filming through a pandemic, and the reversed meta tone that accompanies the film as everyone struggles to adapt, and life stubbornly goes on despite everything else.

It is a very interesting project that I believe will make tremendous sense to all involved in it, but does not necessarily translate that well to an outside audience, who might be put off by haphazard moments and boredom. While I do realize that might be the point of showing creation (and life) during COVID it is a bit too long and too much in your face symbolically.

Promising Young Woman (2020)

A different kind of revenge fantasy

[8/10 · 25 April 2021]

Serendipity: I watched this after "Nobody" (with Bob Odenkirk). Weird comparison, I know, but both are thoroughly enjoyable, if over the top, revenge fantasies. As a straight male I felt specifically targeted in very different ways. "Nobody" as a Bro-guilty-pleasure-fun-popcorn almost exclusively built for a certain audience and with cookie-cutter characters (although played with gusto), "Promising Young Woman" as trying to touch nerves for diverse sorts of people, with more complex (if also stereotypical and over the top) characters, also well played (notably Cary Mulligan)

It was certainly an uncomfortable view, and I do understand how some viewers can look past the obvious logic-defying issues in the script and dialogues, while others forgive those exact same issues. But I thought it was, despite its flaws, decently constructed and with the very interesting touches, such as the leads fingernails (a smart way of showing she has not moved on from what happened years ago, and that it is "complicated"- maybe I'm reading too much into that); but especially the invisibility of Nina (the victim, but clearly not the only victim) herself in the "smoking gun" video that viewers can't see. The ending? Yeah, that wouldn't be possible in "Nobody" (or "Wick", or whatever). I was going to give it a 7, but I thought that touch deserved extra credit.

Murder on Middle Beach (2020)

Great, except the finale made me re-think it

[5/10 · 3 January 2021]

First of all it is important to stress what this is not: It is not a true crime story with a tidy resolution, although the usual tropes are there, including the details of the crime itself, baffling police behavior, mysterious witnesses, messy family stories, and even messier secrets. This actually makes for great drama, and I thoroughly enjoyed the first 3 and a half episodes. (maybe a 7-8 rating, because I also think it was too long, and needed editing). However, it ended of on a counter-cliffhanger of sorts. I understand that there are deadlines, but ending when police evidence the author has been trying so hard to access has been disclosed to him, instead of waiting to see what said evidence actually said was very disappointing to me. And it put back into focus another aspect of the documentary that had bothered me, but was hiding behind the riveting characters: the navel-grazing of a former spoiled teenager that still behaves as such, who thinks he is entitled and owed answers, and for whom this project is (also) therapy, besides a call for the culprit go give him/herself up (given the tone of the material I doubt that it will work). What was interesting to me were the character stories, including the aforementioned director. The distant unsympathetic father with shady business deals, who legitimately seems to view this whole thing as a sting operation. The mothers (and fathers) secret stories that all teenagers are surprised to learn, as parents are supposed to have no stories before or beyond them. The totally different coping mechanisms of the siblings, the brother delving hard into the crime and making a documentary on something that seems to define his existence so far, the sister escaping far away, changing cultures and never coming back. The fact that some of his maternal family members are very critical of other people (including the father), but do not understand that they are (rightfully) convicted criminals involved in a Ponzi scheme. Self-delusion is perhaps the most fascinating aspect here, and if another follow-up episode is tacked on I will certainly consider revisiting this rating.

The Vast of Night (2019)

Great concept, perhaps too long

[6/10 · 12 June 2020]

The filmmaker did a great job in terms of creating mood, at all levels. The characters are believable and do their jobs in this context, including the unavoidable incredibly dumb choices. Great look to the film overall, loved the long traveling shots, good dialogues. Overall it is a charming film, that however seems that it would be better off as a 30 min episode in a series like the cited Twilight Zone. The monologues are too long, and the idea is stretched out too much but introducing characters that basically repeat what was already known. And reviewers who say the film often seems like an audio book do have a point, in large chunks of the film it really doesn't matter if you are watching, as long as you listen. It is not a genius piece, but it it is a great effort, worthwhile for Sci-Fi (and 1950s) fans.

In Fabric (2018)

Interesting and Uneven

[7/10 · 1 February 2020]

Most of the key points have already been made. Its not quite a full story, its not quite an anthology. And Marianne Jean-Baptiste is so good in her beleaguered performance that the second story never adequately clicks, and its characters never impress as much. By the end I had the feeling the second act was there to add two more people to the final "basement" scene, that drives home the message of eternal damnation. But, besides the bravado of using the trope of a cursed dress, the mood, sets and music are outstanding and reminiscent of old "Italian horror-giallo", as they were in the also interesting and almost-great "Berberian Sound Studio", a previous film by Peter Strickland, with (in my opinion) many of the same issues. I would really be interested in watching a film in which the author directs someone else's script, because that seems to be the issue: mood and style versus storytelling, with the latter clearly coming in second. Not that it is not a hypnotic experience. One last thought to the wonderfully creepy Fatma Mohamed, who does a great turn as a verbose store clerk with a wonderful presence and weird dialogue (see the Quotes section). I had never heard of her except as a voice-over actress, also in "Berberian Sound Studio". Although we can never say exactly what she is about, she and Marianne Jean-Baptiste alone are worth the price of admission, together with the whole visual and aural experience Strickland puts on.

The Domain (2019)

Interesting starting points, but...

[5/10 · 8 October 2019]

This movie has great setting, amazing photography, production value, and a few good ideas. It also has the insight of not trying to provide too much historical context. Even if you are not Portuguese (which I am) you can easily follow the tropes of dictatorship-to-democracy transition, class relations-struggles, and the typical "protective" macho pose of the main character. The problem is that, despite an interesting premise and loads of potential, there is not much in between, and the plot seems to think its more sophisticated than it is. Everything that seems to matter to the family story is obvious (things that are important, but accessory to this- like political and economical issues- are not), and the viewer is treated as though it isn't, as if there is much explaining to do. Some great movies also have obvious plots, but the craft makes you almost forget about that, which is unfortunately not the case here. This is also because the characters are not as complex as the filmmakers seem to think they are, and the family relations, again, are unsurprising, verging on caricature. The fact that, for some reason, lighting cigarettes/smoking, pouring drinks and looking broodingly into the horizon seem to have been the major acting directions to create all sorts of different tensions does not help (although the lighting is great). You can use those crutches a few times, but when its done all the time it doesn't work. I do not mind excruciatingly slow or long movies, but there is no reason for this film to be either of those things, it might actually benefit from a re-edit.

Carnal Knowledge (1971)

Males behaving Poorly

[8/10 · 19 August 2019]

More of a theater play (in both the nature of monologues and dialogues, and framing) than a movie, I found that the aging I could sense here was much more bearable than in other movies of the same period ("Five easy pieces", for example). The character study and evolution of two emotionally stunted and privileged males was well thought out, and convincing, if you are into that sort of thing. In a way you can guess the excuses they make on their respective journeys, but because they ring true. The main issue is that it is clearly one-sided, and from a male perspective.

Five Easy Pieces (1970)

Was it just Time that passed?

[6/10 · 19 August 2019]

On vacation I decided to go through vintage collections, the kind you get because of their significance in film history, and then never seem to have time to watch. Was that the problem here? That I was watching the film decades too late? That there was a power here that I can't really grasp watching it now? It seemed like a collection of vignettes (some very good, others more on the pathetic side) more than a movie, with characters and plot lines discarded left and right. There was some fine acting, but also some straight up bad accents and posing-as-acting that I can't believe weren't laughable even then. And while the script was interesting, and the messages where clear, that was the main issue I had: it spelled out everything, as if unsure the viewer would get it, right up to the mute patriarch that can't provide anything in terms of guidance. There are clear class issues, but everyone is an unhappy screw-up at heart, or oblivious of all the screw-ups out there, was my take home message. That being said the final escape was a bit salvaging point.

Touch Me Not (I) (2018)

I was on board, until I wasn't

[4/10 · 21 May 2019]

I really wanted to like this movie. The premise seemed intriguing, and divergent opinions (when clearly thought out, and not basic "genius" or "garbage" labels) usually signal the movies I want to (and should) watch. The framing, lighting and even music (can't go wrong with Einsturzenden Neubauten) are very good, and the movie starts out well enough on its exploration of intimacy and distance. Its a bit predictable that it veers into sex-based themes (a la "Eyes Wide Shut", if that film were really trying), which I suspect may have annoyed some people. Although I thought it was not "earned", That didn't bother me at all, the (excruciatingly) slow pacing, the connection between scenes, the underdeveloped characters that are hard to identify with (with one or two exceptions) and the fragmented editing did. It's hard to reach intimacy without, at the same time, building walls even as they are being torn down, and life can be slow, fragmented, unconnected, hard to identify with and underdeveloped. But its the map vs. territory argument: a film is not life. My main issue is that this is a film that clearly seemed profound to the filmmaker and actors, and I'm almost positive that the experience of making it was enlightening to them. But it seemed like a private, hermetic, enlightenment. As a viewer I would have to have been interested in the characters and situations; somehow invested in what little developments did happen. And, in the end, to me they weren't really all that interesting.

Diamantino (2018)

A Farce, not a a particularly good one

[5/10 · 15 April 2019]

There are elements that showed promise: football and celebrity cult manipulation most of all (using a Cristiano Ronaldo-like clone; bad accent and family issues included). Especially if you happen to be Portuguese, but, of course, most viewers won't be. The production values are above average for what you'd expect, however the plot wanders, "serious" issues get lost, some of the acting is quite bad (a good turn from the protagonist and his evil twin sisters, though), and it is never as funny as it seems to think it is. In short: it's not great as a farce, and its not resolutely and wholeheartedly bad enough to be camp.

The Portuguese Woman (2018)

An ensemble of tableaux

[5/10 · 30 March 2019]

The photography, lighting, decor, costumes, and sets were outstanding, of painting-like quality. The craft and obsession with detail were obvious throughout. If Movies were made of a collection of small moments of visual pleasure this would have been a 10. But, in the tradition of a certain kind of cinema (Manoel de Oliveira is an obvious reference to cite here, in both good and bad) there were issues with character development, artificial dialogues that lend the characters less compelling than they could be, and pace that is often ludicrous (with singing in between, that I'm sure made sense at the time, but...) and confuses the story, making it almost as unbelievable as any Marvel-type effort.

Jiang hu er nü (2018)

Yes, but...

[5/10 · 26 March 2019]

I really enjoyed the Directors "Still Life" (2006), but all his other movies I saw were a disappointment. I always learn a lot about Chinese society and how it evolved (for example, how western elements, from disco to ballroom dancing are blended in). But there needs to be a movie in there as well somewhere, and the (slow) story here did not transcend its obvious starting (and ending) points, and didn't even built up the characters well enough to make me care. There were some great scenes, the best of which was the strategy the lead character uses to get money at a family restaurant. It says a LOT about society in that very simple scene, but more of those moments of true brilliance were needed.

Monsters and Men (2018)

Great Material, disjointed

[6/10 · 19 March 2019]

The film starts out well enough, the acting is good and the story nuanced. The starting material and development are powerful, if predictable (nothing wrong with that). Perhaps to counter this, the option was to consecutively follow three different perspectives on the same events, three characters who hardly intersect, each with a clear "role" in terms of message. Although permanently unresolved issues are a key component of the film, in the end for me it felt disjointed due to this, three partial stories not necessarily making up a single great on. But I look forward for more from this director.

Bad Times at the El Royale (2018)

Really Good, a LOT going on

[7/10 · 23 December 2018]

The concept, many layers, acting, characters, sets, period recreation, music and pacing of the movie make me recommend it wholeheartedly. It is a thrill to watch, a sort of old-fashioned pleasure. So why not a higher grade? There are really a lot of side stories and context that are left sketched, which is perhaps obvious as there are many of them, perhaps too many for a single movie. The Director respects the characters enough to give them all their due, but would have needed much more time (or less characters) to fully pull it off. The J. Edgar Hoover "state within the state" FBI, segregation, a Charles Manson-like cult, the scars of child abuse, the disposable in the entertainment industry, even the Vietnam war. All this is piled up on the "simpler" robbery narrative, which would probably have filed up nicely a lesser version of this film. But still, a very good movie, definitely worth watching, and you can always try to fill in the blanks yourself.

Girl (II) (2018)

Good, not Great

[6/10 · 22 December 2018]

First things first: I really enjoyed the movie. Do I think its great? No. But I actually thought the ongoing ballet metaphor (and all the discipline and equilibrium that is involved in classical training) was powerful in showing the development of an "unbalanced" psyche that is trying desperately to cling on to whatever "normal" it can construct. Although certainly repetitive I thought it was inspired,, rather than boring. I also appreciated the non-preachy nature of most of the film, thus I rated it how I rated it. Having now read some of the reviews, I do understand possible objections to the depiction of the characters transition, and how it is shown. But, as in other instances with many other films for many different reasons, I don't know enough to judge. I will be more aware in the future, so for me both film and reviews were very useful.