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Reviews
Camilo Superstar (2023)
The importance of a good lead performance
"Camilo Superstar," the biopic about Camilo Sesto and his arrival in Spain with "Jesus Christ Superstar," had an excellent cast and renowned scriptwriters who promised a memorable series. Despite some qualities, the final result is disappointing.
On the one hand, the editing is quite well done and flows effectively, which stands out positively. However, the direction does not shine, although it cannot be considered bad either. Still, the big problem lies in the acting of Alejandro Jato, who plays Camilo Sesto. His performance degrades what could have been a 7 or 8 star product to something that barely reaches 3 or 4 at best.
Jato, originally from Vigo, tries to force a Valencian accent that feels exaggerated and not very credible, resulting in a performance that lacks authenticity. His performance contrasts noticeably with other actors in the cast, such as the one who plays Teddy Bautista, who really contributes to the story. Furthermore, the choice of actress for the role of Melina Mercuri also leaves much to be desired; her performance fails to capture the essence of the character and the lack of physical resemblance is evident.
The series also chooses to highlight aspects of Camilo's personal life, focusing on his love life in a superficial manner, which seems more like an attempt at sensationalism than a deep exploration of his legacy. The interpretations of the songs, which include some by Camilo himself, further highlight the gap between Jato's voice and performance, underlining his inability to convey the emotion that characterizes the artist.
Ultimately, "Camilo Superstar" is a project that, despite having great potential, is ruined by a poor central performance. It is a shame, especially for those of us who are fans of the musical and the legacy of Camilo Sesto, since the series is presented as a failed attempt to pay tribute to ecially for those of us who are fans of the musical and the legacy of Camilo Sesto, since the series is presehis figure. The lack of coherence and pretentious execution make this series, unfortunately, very bad.
Padre no hay más que uno 3 (2022)
Boring terrible crap
"Father is only one 3" is an absolute fiasco. Not only is the film horrendous in terms of direction and acting, but it also demonstrates an alarming lack of originality and creativity. Santiago Segura, in his dual role as director and actor, proves to be incapable in both aspects. His direction seems to be limited to a simple "action!" without any effective guidance, resulting in a cast completely lost in the scene. His acting, on the other hand, is deplorable and reflects his lack of skills in the art of acting.
The script of the film is a perfect example of creative recycling. Although there are only two scenes directly recycled from the previous installments, the rest of the plot is a mere repetition of ideas already seen, seasoned with forced Christmas elements to try to give them a fresh air. The film seems to be the vision of a sexagenarian (Segura) on youth, treating his personal perspective as a universal reality and without taking into account authenticity or relevance to modern audiences.
The photography is another disaster, with shots that seem to have been thought through beyond basic and poor execution. The film, as a whole, is a clear example of why it is time for Segura and his team to stop making films. Spanish cinema needs to regenerate, breathe and free itself from these productions that only contribute to its deterioration. I hope Segura reads this, because he is the reason for the current hatred of Spanish cinema. This thing is not only a terrible film, but it also represents a creative stagnation that needs to be overcome.
Borderline Cult (2007)
The best horror movie
"Borderline Cult" is not just a movie, it is a work of art in the purest sense of the word. If ever there was a piece of cinema that redefined the boundaries of genre cinema, it is this one. Ulli Lommel, in his masterful vision, has created what can only be described as the "Citizen Kane" of serial killer movies. From its precise direction to its meticulously constructed script, every element of "Borderline Cult" is a testament to Lommel's unmatched genius.
What fascinates me the most, what truly left me speechless, are the characters' endless, captivating monologues. These speeches, which may seem excessive to some, are actually the heart and soul of the film. Each monologue is a (not at all expository) window into the characters' psyches, a deep exploration of their motivations, their fears, and their inevitable descent into darkness. These aren't just dialogues, they're poems in motion, each word resonating with an almost philosophical depth. Honestly, the monologues are what makes Borderline Cult so much bigger than just a genre film: they elevate it to the level of sublime art.
And then there's the masterful use of sound. The constant buzzing of flies, far from being a mere sound effect, becomes an omnipresent presence that underlines the decadence of the world Lommel presents to us. I can't help but admire how this seemingly trivial detail adds so much to the atmosphere, to the point that it becomes almost another character. It's a bold and brilliant touch that made me appreciate even more the meticulous construction of this masterpiece.
The fat autistic invisible fly-catcher, who in other hands could have been a simple comic relief, here becomes a tragic and deeply moving figure. His fight against the invisible flies is a moving metaphor for the human struggle against problems we cannot see, but feel overwhelmingly. And his final kill with the fly swatter is simply unforgettable. Lommel turns what could have been a trivial scene into one of the most powerful and impactful sequences I have seen in years.
"Borderline Cult" is not just a film, it is a transformative experience. It is a masterpiece that should be appreciated not only by genre fans, but by any film lover. Its ambition, emotional depth and innovative narrative structure put it at the very top of the great films of all time. For me, it is the "Citizen Kane" of genre cinema, and I have no doubt that, in time, it will be recognized as such.
A Bucket of Blood (1995)
Griffith was the 40%, Corman other 40% and Miller, Morris and Burton the 20%
This is a clear example of how a remake can fail when trying to revive the magic of a classic. The original 1959 film, directed by Roger Corman and written by Charles B. Griffith, is a cult cinema treasure, a brilliant mix of dark humor, satire and horror. However, this new version, directed by Michael McDonald, lacks the spirit and irreverence that made the original a unique work.
Anthony Michael Hall, as Walter Paisley, is simply disastrous. From the beginning, his performance is rude, dry and unattractive, which goes against the original character, who was a shy and pathetic man who slowly became a monster out of pure ambition, Max's poems clearly destroy Max's sanity. Paisley in the brilliant original version, not in this one. This misrepresentation appears to be largely the result of poor directing of actors on McDonald's part. Hall never manages to capture the essence of Walter, which makes it difficult to empathize with his character, a crucial flaw for the development of the story.
Justine Bateman, as Carla, gives a performance that could be considered Razzie-worthy. His performance is flat and without nuance, unable to convey the depth or charm that the character requires. On the other hand, Shadoe Stevens as Maxwell fails to match the grace and charisma that Julian Burton brought to the character in 1959. Her performance is so lackluster that it makes the dynamic between the main characters feel forced and boring.
The biggest problem with this film is the absence of Charles B. Griffith in the script. It is Charles B. Griffith who really gives soul to the film (from '59). Griffith, with his unique style, was a screenwriter like few others: irreverent, biting, full of wit and with a keen perception of the absurd in everyday life. His script for the original film is a raw gem, full of sharp dialogue and situations loaded with satire that still resonates today, the mockery of the Beat generation is valid today. Griffith was a beatnik, an outsider, a man who knew how to capture the spirit of his time with a touch that few could match. Griffith, with his brilliant, egy, and deeply literary style, was a unique figure in the world of cinema, a screenwriter with a special talent for sharp dialogue and incisive social criticism. His absence in the 1995 remake is deeply felt, and as a fan of his, Roger's, and the original, it hurts, because without his voice, the film loses the bitingness and grace that made the original such a special work.
1995's "A Bucket of Blood" is a failed attempt to capture the genius of the original. With mediocre direction, woeful acting, and a script that isn't up to par, this version is a reminder of what happens when you try to remake a classic without understanding what made it special in the first place.
Amigos hasta la muerte (2023)
Javier Ve(go)iga
"Friends Until Death" is Javier Veiga's pathetic attempt to resurrect his career, desperately clinging to memories of his days at the Comedy Club. No one has taken him seriously since, and with this film he confirms why. Veiga intends to make a comedy about a man who is about to die and decides to win back his best friend. The premise could have led to something interesting, but this garbage doesn't even come close. A story like this demands good acting and solid direction, two things that are clearly beyond Veiga's reach.
The direction is a monumental disaster. It's as if Veiga chose the worst shots on purpose, one visual insult after another, making it clear that he has no idea what he's doing behind a camera. The acting is so weak that you'd think the actors realized the farce they were in and decided not to try too hard. But the worst thing is that it's all contaminated by Veiga's oversized ego, which creeps into every damn scene. It's not enough for him to direct and write; He also needs to secure his place in the spotlight, as if anyone would actually want to see him.
The only minimally decent thing about this aberration is the soundtrack, but even that doesn't save "Friends Until Death" from disaster. In the end, the best thing this film has achieved is to mark the definitive end of the career of an egomaniac whose only great work was his own failure.
O home e o can (2022)
Masterpiece wherever you look at it, less because of the lighting
'O Home e o Can' is a gem of Galician independent cinema and independent cinema in general. The film touches the heart in an impressive way, tackling deep themes such as unchosen loneliness, mental disabilities, poverty and theft with remarkable sensitivity and beauty.
If there is one actor in the Galician scene that I dislike, it is Manuel Manquiña. Seriously, I can't stand him, I don't buy it, he's a tremendously overacting prude, I really overdislike him. So this is something you will never see: me speaking well of him. If I ever criticize a product that he is in, I will lower his score for his mere presence, cos his presence turns any project into a terrible krap.
The performances are, for the most part, outstanding. Manuel Manquiña, who I normally criticize fiercely, gives a performance here that deserves praise. It is a total contrast to what I usually think of him. Pauliña, in her role as Paula, also shines, both in her performance and in her impressive voice. The sonorous mother is another charming detail that adds an additional layer of emotion.
However, the film's biggest downfall is the lighting. It's an absolute disaster. In several scenes, the spotlight is clearly in front of the actors, creating shadows that do no good at all and make the film look even cheaper and poorly made. The lighting ruins the black and white, giving it an artificial look that is very unattractive. It's like a low-budget Ulli Lommel film.
Despite these flaws, the film has moments of genuine emotion. One of the most shocking scenes is when the protagonist discovers that he cannot be arrested because he is mentally handicapped. His joy is so genuine and raw that it's heartbreaking. It's one of the most emotional scenes I've ever seen: brief but with an overwhelming emotional charge.
In short, 'O Home e o Can' is a wonderful film with a story that touches the soul, despite its disastrous lighting. I give it a 9 out of 10, and for those who think it's easy to criticize, I would do much better lighting.
Joel (2018)
Infectious and decrepit, exploitative garbage that was fortunately forgotten after never having had any importance
'Joel' (2018), directed and written by John R. Hand, is a film that manifests itself as the ultimate incompetence and lack of creative vision. It is a complete and utter aberration of cinema that not only fails in every technical and artistic aspect, but also demonstrates a total disregard for narrative and authentic representation.
From the first frame, the film sinks into a sea of endless errors. Hand's direction is a brutal exercise in mediocrity. Every shot seems to have been designed to torture the viewer, with framing that not only fails to create tension, but exacerbates the sense of hopelessness as he watches the film twist in its own incompetence. The director's ability to ruin atmosphere is so absolute that you wonder if he ever had a shred of understanding of how to make films.
The cinematography is a monumental catastrophe. The lack of color treatment makes every scene look flat and lifeless, while the handling of white balance is a true horror that will dazzle viewers with painful intensity. The close-ups, instead of generating claustrophobia, only reveal an endless series of technical and aesthetic errors that turn every shot into a visual horror show. The incompetence is so manifest that the film becomes a test of how to destroy the cinematic experience through careless production.
The production design is another example of absolute nonsense. Joel's house, with its absurdly modern designer furniture, is not only inappropriate but is an insult to logic. These furnishings not only break immersion, but underline the ridiculousness of the film, which seems to have been made with a total disregard for reality and historical context.
The sound is a disaster of epic proportions. The audio quality is so low that it makes the experience of watching the film even more torturous. Instead of using decent equipment, it seems that cheap tape recorders were used, producing a horrible sound that adds an extra layer of irritation to the viewer. The lack of professionalism in this aspect is so evident that it makes the rest of the production seem even worse.
One of the worst sins of 'Joel' is its total ignorance of the media impact of the Rifkin case. The film completely misses the opportunity to explore the media furor and the role that Joel Rifkin played in public culture as the prototype of the serial killer. Instead of delving into this rich narrative, the film drags itself through an hour and a half of bad acting, abysmal direction, and a pitiful presentation, only to end abruptly and pointlessly.
Arnold Odo, despite his physical resemblance, does not do justice to the role. His non-New York accent is a constant distraction that ruins the minimal immersion possible. The acting feels like a caricature and a mockery of the real character.
In short, 'Joel' is not simply a bad film; it is a total aberration. Every element of the production, from direction and photography to sound and design, is so poorly executed that the film becomes a brutal demonstration of what cinema should not be. It is a film that is not only useless and boring, but is an affront to any standard of quality. The only recommendation is to avoid it altogether and remember that 'Joel' is a painful reminder of how low cinema can fall when incompetence takes over the creative process.
Des (2020)
DES
The 2020 series "Des" is a pretty intense watch, thanks largely to David Tennant's standout performance as Dennis Nilsen. Tennant really nails it, bringing depth and complexity to the role. The show itself is well-researched and mostly accurate, though it skips over some key details.
On the flip side, the series focuses heavily on the police investigation, which means you don't get a full picture of the crimes themselves. You hear about them, sure, but you don't really see the full extent of Nilsen's madness. This could leave you feeling like something's missing.
Technically, the show looks top-notch, but it's not without flaws. The high ISO in some scenes makes the footage look grainy, especially in darker moments, which can be pretty distracting. And you can definitely tell there was a big budget behind it, which sometimes makes the whole thing feel a bit too polished and less real.
One odd issue is the Spanish dubbing, where Adam Sandler's voice somehow ends up being used. It's weird and pulls you out of the experience.
Despite these quirks, "Des" is still a solid watch, especially if you're into true crime dramas. I'd give it a 7.5 out of 10, rounding up to an 8 on IMDb.
Jacinto (2021)
Remarkable I guess
Galician cinema, in general, is notable, like the vast majority of Spanish cinema, for its lack of quality, with notable exceptions such as some Vacafilms productions. However, "Jacinto", directed by Javier Camino, stands out in the midst of this trend.
Camino's direction is effective and maintains the viewer's interest. Pedro Brandariz, despite his rough-and-tumble appearance, offers a solid and convincing performance in a serious role, showing his ability to take on deep roles.
Juanma Buiturón's performance is particularly noteworthy, providing an intensity that enriches the film. Although violence is not a central theme, when it appears, it is handled in a striking way. The music and makeup complement the atmosphere of the film well.
Although "Jacinto" does not reach the level of a masterpiece (which is still a long way off), it deserves a 6 to 7 star rating. It is a well-executed film that has been valued at festivals such as Sitges.
Gacy: Serial Killer Next Door (2024)
WOW
Gacy, Serial Killer Next Door directed by Michael Feifer is an unexpected masterpiece and a shining example of high-budget filmmaking and impeccable storytelling in the true crime genre. From the very first frame, it's clear that Feifer has delivered a film of unprecedented quality, one that sets a new standard for biographical dramas about notorious criminals.
First off, the cinematography in Gacy is nothing short of spectacular. Feifer's keen eye for detail and artistic vision are evident in every shot. The lighting is flawless, casting a haunting glow over the scenes that perfectly captures the dark and twisted world of John Wayne Gacy. The framing is precise, creating a visual feast for the eyes that's both captivating and unsettling.
The acting is another highlight of this film. The cast delivers performances of such depth and nuance that they make the characters come to life in ways you wouldn't expect. The portrayal of John Wayne Gacy is both chilling and mesmerizing, offering a complex and multi-dimensional look at the infamous killer. Each actor brings a fresh perspective, making the performances memorable and impactful.
Feifer's direction is masterful. The narrative flows seamlessly, with a perfect balance of tension and pacing that keeps you on the edge of your seat. The film's structure is impeccably crafted, weaving together different threads of Gacy's life into a cohesive and gripping story. Feifer's vision for the film is both ambitious and successful, presenting Gacy's story in a way that is both engaging and thought-provoking.
The writing is top-notch, providing an insightful and respectful exploration of the real-life case. The dialogue is sharp and authentic, and the plot delves deeply into the darker aspects of Gacy's life without sensationalizing or trivializing the real horrors. This film offers a profound and respectful representation of the true crime genre, highlighting Feifer's dedication to honoring the subject matter.
In summary, Gacy, Serial Killer Next Door is a triumph in every sense. It's a high-budget, high-quality production that redefines the genre and showcases Michael Feifer's incredible talent. With its stunning cinematography, stellar acting, brilliant direction, and respectful portrayal of real events, this film is a must-see for anyone interested in true crime. It not only meets but exceeds expectations, offering a compelling and respectful look at one of history's most notorious criminals.
Perfectos desconocidos (2017)
Master
"Perfectos Desconocidos", directed by Álex de la Iglesia, is an intriguing Spanish comedy-drama that explores the limits of privacy and intimacy in the digital age. The plot revolves around a group of friends who meet for a dinner and decide to play a dangerous game: share all the messages and calls they receive on their mobile phones. What begins as an innocent exercise soon turns into a revelation of dark secrets and betrayals between the characters.
The film's premise is witty and contemporary, addressing relevant themes about communication in the age of social media and the lack of privacy in an increasingly digitally connected world. Álex de la Iglesia manages to maintain a perfect balance between humor and drama, taking the viewer on an emotional journey as the characters face the consequences of revealing their deepest secrets.
The cast gives solid performances, highlighting the chemistry between the actors who play the friends, who go from laughter and camaraderie to tension and conflict as the story progresses. The film not only entertains, but also invites us to reflect on the authenticity of human relationships and the impact of technology on our lives.
Visually, the film makes the most of the dinner setting, creating an intimate, claustrophobic atmosphere that intensifies the drama and comedy of the situation. Álex de la Iglesia's direction stands out for its distinctive style and his ability to capture the dynamics between characters with a sharp and insightful sensitivity.
In conclusion, "Perfectos Desconocidos" is a film that not only entertains but also challenges the viewer to reflect on the importance of honesty and privacy in our personal relationships. With a clever plot, solid performances and skillful direction, this film is a standout example of contemporary Spanish cinema that is worth watching.
Son of Sam (2008)
Son of sam
He kept churning out crap until he came to "Son of Sam". Let's start with the choice of Yogi Joshi to play David Berkowitz. Brilliant choice, Uli! Of course! When I think of Berkowitz, I automatically think of an Arab. In fact, every time I order a kebab, I wonder if Berkowitz is behind the counter cooking! Honestly, the only similarity I see between Joshi and Berkowitz is that they both have... eyes?
The performances in this movie... Oh my God! I've seen chunks of wood with more emotional range. The last time I saw such stellar performances was when my 4-year-old niece put on her shadow puppet show in the living room.
And speaking of the satanic ritual scenes, did anyone else feel like they were watching a failed attempt at a neighborhood Halloween party? It looks like the result of what happens when you give a group of hyperactive kids a can of cola and leave them alone with carnival costumes.
The "narrative", if you can even call it that, is a jumble of poorly stitched-together scenes, as if Lommel had decided to put all his ideas into a blender, hit the button, and say: "Done, this looks like cinema!"
The real mystery here isn't "Son of Sam", but how someone could hand Lommel a camera and say, "Yes, go ahead, make another movie." It's the kind of movie that makes you want to ask someone to rip out your eyes so you don't have to see something like that ever again.
In short, if you're looking for a way to torture yourself or maybe want a new method to keep unwanted guests out of your house, "Son of Sam" is the movie for you!