Movie reviews of Filipe Freitas

Kingdom of the Planet of the Apes loses substance, relying on reheated formulas disguised as modernistic ideas throughout its quicksilver flow. Review

The Last Stop in Yuma County reminds us how gripping neo-noir thrillers can be when properly crafted, and Gallupi proves to be a bold young director to watch. Review

There's unquestionably an audience here, and the film isn't completely terrible. It is just rather monotonous as the flimsy story fails to support the dramatic weight envisioned by its creators. Review

You find yourself wanting to like what you see. Yet, Lost Soulz is more to be admired than enjoyed, with noticeable choppiness where fluidity was needed. Review

Shayda may feel a bit clunky in places but that can't stifle the sheer force of the emotion it evokes. Niasari's admirable feature debut serves as a tribute to her mother and all the courageous women of Iran. Review

Assuring that his fine narrative development leads to a positively simplistic resolution, Franco directs the film with both elemental allure and haunting familiarity. He skillfully shapes every aspect of this poignant exploration of healing love with an ultra-realistic vision and precise calibration, avoiding clichés or despair while maintaining authenticity. Review

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