These are all the movies and series that Filipe has reviewed. Read more at: Always Good Movies.
Number of movie reviews: 1932 / 1932
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While its major problem lies in the excess of disparate elements, scattered techniques, and tangled ideas, which oscillate between banality and provocation, Coma remains an open work of art with something to say about a very specific and significant time for humanity. Review
There’s a lot to drawn from Hamaguchi’s directorial sensitivity given that it’s rare to see a drama that makes such subtle sense of its subject matter. True to his style, he solidifies his position as one of the greatest filmmakers of our times. Review
Departing from his previous sci-fi works like Ex Machina and Annihilation, Garland injects furious nihilism in his staggeringly realistic depiction of a near-future setting that, as it should, leaves audiences feeling exhausted and wrung-out. Review
Despite the promising setup, Challengers fails to fully capitalize on its potential. I don’t see it as a very grown up movie, and was craving for more clever twists in the plot. These charming threesome never hit the ball with enough ability to make it over the net. Review
The doubts, confused feelings, and deep-seated disconnection that keep tormenting the lead character are valid, but Seagrass lacks groundbreaking originality, ultimately concluding on a disconsolately vague note after a powerful premise. Review
Even with some unnecessary lengths, La Chimera provides a singular experience in a kind-hearted fashion that allows the movie to resonate with more warmth than what was initially thought. O’Connor delivers an engrossing performance, complemented by Duarte and Rossellini, who are a pleasure to watch. Review
Inside the Yellow Cocoon Shell is a genre unto itself, demanding patience and introspection without veering into complete abstraction. Although strangely immersing, not everyone will be invested in the questions it poses. Review
The handheld camera work may be a minor drawback for some viewers, and opportunities for deeper exploration of character dynamics and the catastrophic events could have been better utilized. Nonetheless, Brewer's direction demonstrates unwavering commitment, resulting in what is arguably his strongest work to date. Review
Despite its bleak topic, The Settlers is elevated by its stunning location shots and the sharp cinematography of Simone D’Arcangelo, who previously showcased his talent in the exquisite The Tale of King Crab. Review
Neither shaping as a real sci-fi adventure nor grounding itself in a compelling romantic drama, Spaceman falls into a middling territory, promising more than it deliveries. Its slow narrative pace, coupled with verbose sequences that prioritize cerebral musings over genuine insight, results in a film that struggles to maintain logical coherence and foster empathy. Review
Road House is a monotonously by-the-numbers film where even the punches ring false. It's wiser to steer clear of this remake and seek out decent entertainment elsewhere. Review
Despite the moral quandaries that surface, Last Summer feels emotionally distant and somewhat dated, floundering and drowning in its own dramatic viscosity. Review
Coup de Chance is Woody Allen at his weakest, presenting every emotion and action as false, idiotic or frivolous. The film's saving grace lies in its incredibly groovy jazz soundtrack... Review
Buscemi’s focused direction maintains the same tonal palette throughout, but these segments are engaging enough to keep you invested. Review
The message DuVernay aims to convey doesn’t come across clearly, and the results instead of reaching any state of maturation, feel merely superficial. It’s surprising how tame the film is, taking into account its weighty subject matter. Review
Yakusho delivers a pitch-perfect performance, carrying the weight of the narrative with ease, while Wenders approaches the story with a sense of politeness, eschewing flashy theatrics. Review
It’s a powerful and memorable affair that, offering a different perspective of the Holocaust, may feel oppressive despite the absence of explicit violence. Benefitting from impressive performances by the pair of German actors, Glazer portrays this drama with the dazzling smoothness of a movie-making natural. Review
The Iron Claw compares to wrestling in the way that it’s all pose and artifice but no brains or integrity. In addition to overlong, the film lacks emotion at every turn, and the acting never impressed - Jeremy Allen White being the exception. Review
Dune: Part 2 stands as the apotheosis of Villeneuve's directorial signature within the sci-fi genre - a tremendous display of full-throttle filmmaking that mesmerizes with its clever stylization, unwavering attention to detail, and grandiose visuals. Review
Ennio takes audiences on an emotional journey without descending into melodrama, partially thanks to the masterful editing by Massimo Quaglia and Annalisa Schillaci, who keep things fluid and interesting. Review
Gone are Polanski's signature style and wit, replaced by repetitive gags and scenes that feel more grating than gratifying. Review
Drive-Away Dolls is a jumbled mess that tries to be both tactlessly offbeat and attractively endearing, missing the mark. Review
Hausner demonstrates a morbid precision in her exploration of contemporary neuroses, and yet, the picture rests in a muzzy middle where observation and absurdity are practically indistinguishable. Club Zero is a failure, but an intriguing one. Review
Cailley demonstrates audacity in both style and form, crafting a controlled staging that delves into themes of unethical discrimination and the mysterious ties between humanity and nature. Review
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