Movie reviews of Filipe Freitas

Films like Seven and The Silence of the Lambs may come to mind, but Longlegs is miles away from them in many crucial aspects, including originality. It’s all surface psychodramatics, sporadically watchable yet mostly inert. Hence, quickly forgettable. Review

Buckling under the weight of trying to subvert expectations, MaXXXine ends up being a muddled, trashy piece of madness whose narrative jolts rather than compels. Review

Tune out the hype for countless other comedies as this one is delivered with poise and understatement, most refreshing qualities in a genre that often bombards viewers with forcible and imbecilic situations. Review

Depicted with a certain nostalgia, this is a furiously lucid slice of American cinema, intelligently constructed and handsomely executed. Don’t hesitate to hit the road with these nervy fellas. Review

Babes might not be as funny as some have claimed, but focuses on how these two friends rely on each other and grow through life's blessings and adversities. It’s an entertaining film aimed at adults. Review

The sharp cinematography by Thomas W. Kiennast and the costume design by Tanja Hausner are assets, but the well-groomed film itself is a minor vehicle to deliver Huller's sober but firm performance. Review

Glass’ sophomore picture is not as masterfully visceral as Saint Maude, but the rising filmmaker reveals herself as a gifted portrayer of emotional intimacies and wrenching acts of violence. Review

Problemista is only partially satisfying and easy to overlook, but hope is its last word - even if it means achieving things forcibly - and some aspects addressed are so true that they stay with you. Review

Jude evokes the social realism of Jim Jarmusch and Jean-Luc Godard - creative in form, tenacious in the storytelling - and infuses a caustic humor that, cutting sharper than a knife, is often quite delicious. Review

The film, co-produced by Emma Stone, aims for the bizarre but ends up more mind-numbing and emotionally deserted than clever. Review

Radiating warmth and humor, the film’s main strength lies in two beautifully observed complementary performances, hitting the mark in its attempt to generate sympathy for the characters’ struggles. If the ending had been better imagined and less predictable, viewers would have an even stronger incentive to watch it. Review

With shades of David Cronenberg and David Lynch, the director of Nocturama and Coma gives us something special in a ferociously pleasurable film that deserves respect for its ambition. The Beast is what it wants to be: a slice of thought-provoking, nightmarish science fiction that rewards the viewer emotionally and visually. Review

The ensemble cast is solid, hitting the right emotional notes and building credibility with scenes that are Holland’s earnest attempts to bring to the world a harrowing chapter of her country’s history. Review

Retractable fangs fail to deliver a significant bite, resulting in an outrageously fascinating failure that could have been a laugh riot. Review

Determined to charm audiences, Showalter is ineptly uninspired. The film stumbles when it sacrifices specificity for generic sentiment, making it ultimately a waste of time. Review

Bouncing around to sometimes memorable effect, the film only soars intermittently, amassing tension ahead of a climax that might feel underwhelming. It’s consistently caustic and dynamic, although never outright challenging. Review

Sharply edited by filmmaker Stéphane Lafleur, the film, as dark as it is touching, is filled with surprising depth, sharp humor, and melancholy strangeness. Review

Hit Man is breezily acted, consistently funny, often charming, and noir enough to provide a great time in the theater. Review

With numerous redundant action scenes, flopped soundtrack choices, and sparse laughs, The Fall Guy feels as contrived and frivolous as the stunts it showcases, never deciding on whether to be a parody or an homage to the brave, always-invisible Hollywood stuntmen. Review

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