Movie reviews of Filipe Freitas

Packed with the faces of consternation and tears of despair, State Funeral is both remarkable and tedious. Review

Even if the cinematography tends to infuse warm light in every scene and the direction is sometimes too bubbly to feel real, the performances are genuinely natural and sympathetic to make us bound up with the characters. There is a tenderness about this hero and his noble intentions that is profoundly touching. The ending is delicious, and even James Bond seems to have acknowledged this story. Review

Action and intrigue, which should be the go-thing in Cliff Walkers, are in clear deficit, and the film, duller than exciting, got me bored. Review

Some thrillers earn the epithet of ‘edge of your seat’ experiences, but with Pig it’s more like you are waiting patiently for Rob to resolve what needs to be fixed. Successful debut by Sarnoski. Review

It’s all lugubrious, esoteric and bemusedly enchanting, with major contributions of sound designer Juan Carlos Blancas and the cinematographic art of Patiño. Review

Possessing a tight control over the camera and catching glimpses of details with astute intelligence, the filmmaker succeeds in laying bare the complexities of this ruinous teen-adult relationship. Review

As the self-indulgence imposes, the film offers less and less. It’s difficult to imagine much of an audience for The Sparks Brothers; at least, some other than the cult-like admirers that idolize them. Review

Comparisons with Mission Impossible and the Bourne films are legit since the spies have their own ways. Black Widow doesn’t assume a place of distinction, but even not very super, assures an acceptable ride into the Marvel world. Review

Hypnotic and allegorical, Scales flows exquisitely, compensating the scarce dialogue with facial expressions - frequently captured through intimate closeups - that speak volumes. I understand that its opaque route, sometimes recalling Michelangelo Antonioni, may drive away a few viewers, but the attentive ones will know what to extract from the rich imagery and metaphorical point of view. Review

As a melting pot of killing grooves and a vibrant push on the civil rights movement, the festival, which was born from a bold initiative by Tony Lawrence with the support of the mayor of New York, John Lindsay, was a rejoicing experience. Trust me, the heat is real and the communion incredible. Review

Some characters are funnier than others - my favorite being Joaquim (Harvey Guillén) whose sharp tongue is killing - and there’s harmless fun here and there, but overall, this is not a great film, walking a rutted road that feels too familiar to impress. Review

The problem with this neo-noir is the shortage of suspense, which makes it look cerebral. This is curiously overcome by a jocular posture and the succession of betrayals. Review

Sloppy in the period details, unproductive in terms of tension and lacking character depth, the film never really explores the sense of danger, and even less the sense of adventure that could have arisen from a story of this nature. Review

This uninspired, disjointed gay romance gets torpidly stuck in the frivolous details and characters that surround it. Review

Algar’s performance is strong, and while some scenes pay tribute to the retro horror genre, the gore factor is not the main source they feed from, challenging the viewers to see beyond that aspect. Review

Pictorially heavy, Holler is acceptable as a realistic look at a family in distress. It’s neither dull nor glorious, and won’t necessarily make you have a blast of emotion, but finds something positive to say among the sterile environments and the performances are consistently strong throughout. Review

Far from unconventional, Riders of Justice is definitely a no-game changer but arrives free of all stylistic constraints. In addition to the message that everyone needs help, its most relevant aspect is perhaps the space given to each character to show their own self under certain circumstances. It was a frothy cinematic experience for me. Review

Krasinski, who replaced cinematographers with no deterioration in the visual quality, manages to shatter your nerves as he revives the mood of the first chapter, expressing confidence in the concept and edginess in the well-executed action sequences. Review

The final moments are not quite convincing, denoting fragilities in the execution, but the director’s formidably hopeful message sticks in our minds. Review

There’s heart in this fierce and serious tale, but it’s also true that most of its episodes lack the drama that would turn it into the epic envisioned by Guerra... Review

The script already wobbles along the way, and completely crumbles in the last chapters, becoming embarrassingly ludicrous in its pseudo madness and bromidic conclusion. Review

In the Heights feels hysterically lively but provides less funny moments than expected, playing more crowd-pleasing than magical. On top of this, I found the musical scenes a bit tiresome and showy. Review

Paper Spiders rubs the mainstream melodrama, escaping its own grimness through hope while operating solely on a restrained emotional level. Shampanier’s ambitious project was partially saved by the two leads, who do all the heavy lifting. Review

Although with the computer-generated images falling into occasional excesses, Gillespie succeeded in turning this film into a wonderful entertainment-escape, the most fun installment in the franchise. Review