Word: filmã
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...Though Cortázar’s story “The Devil’s Drool” famously inspired Italian director Michelangelo Antonioni’s 1966 “Blowup,” it’s another Antonioni film??“L’avventura”—that best mirrors the enigmatic circles in which Oliveira moves. In that movie, the presumable storyline of a woman going missing seems to be forgotten by everyone in the scenes that follow; similarly, La Maga’s absence doesn?...
...creations as gory decoration. Similarly, those who see “District 9” for the violent, hedonistic ride will occasionally be put off by how heavy the plot can get as Blomkamp expounds on the limits and contradictions of human compassion. The aliens are the film??s greatest accomplishment, equal parts pitiable and repulsive. While they are horribly mistreated, their behavior often seems to deserve nothing better. It is here that the film truly makes its point. Despite the seemingly barbarous and insensate nature of the aliens, the viewer still feels that they are undeserving...
...become a surprising hit thousands of miles from its Sin City setting. The Hangover certainly makes for an unlikely sell on the megaplex marquee in a country predominantly driven by religious convictions, where conservative attitudes toward premarital sex, drugs, interracial marriage, and even dating resonate deeply. But the film??s popularity demonstrates a challenge to these foundations of culture in India, revealing a younger generation perhaps as much in step with Western pop culture as their American counterparts...
...homicidal maniac; the joke is that nobody notices. He’s the analog of Wall Street’s own psychosis.What better metaphor than a vampire for the Patrick Batemans of the opposite coast, literally sucking the marrow of life? Lusty consumption drives and sustains the film??s central group, led by a sensitive if shallow performance from Jon Foster as Graham, son of the producer, dealer to the rock star, and resident of the doorman’s building. Without that metaphorical structure, the film sags under its own weight. It was hard enough to take...
...provocative and satisfying resolution. Unlike that movie, however, “The Soloist” never answers the question it first posited: can music and human care provide the courage to reclaim what’s been lost? This does not take away from the genuine nature of the film??s performances. After an Oscar-winning portrayal of musical genius Ray Charles in 2004, Foxx does not disappoint with his take on the remarkably idiosyncratic, capricious, and conflicted musician Ayers. Robert Downey Jr. has a much less dramatic character to work with, but he manages to spin Lopez...