These are all the movies and series that Filipe has reviewed. Read more at: Always Good Movies.
Number of movie reviews: 1986 / 1986
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The Tragedy of Macbeth is at once wonderful and exasperating; a demented and beautiful delight shaped with risk-taking boldness and considerable maturation in the proceedings. As the Witches would say, “seek to know no more” and watch the film yourself. Review
It's one of those cases where the intentions are awesome and the result disjointed. Review
What makes this Spider-Man so satisfying comes in large measure from the lucidity of the narrative, the quality of the villains, and an enjoyable balance of action, humor and emotion. Review
Sadly, every single attempt to create cheekiness and irreverence came off flat and out of place. Hence, if you are into movies that depict true stories and relationships with wit and grit, then you might want to skip Being the Ricardos. Review
Precise in its three-dimensional analysis, Mills tells something genuine and meaningful in a quiet heart-tugger made irresistible by naturalistic performances. Sensitive audiences won’t have difficulty remembering C’mon C’mon. Review
At some point, still far from the conclusion, it was my desire to erase this messy block of code (made of copy and paste) from the screen. After the abominable final sequence, I got less anxious as soon as I saw the final credits roll. Press the button and... erased forever! Review
The innocence, perceptiveness, sadness and occasional rapture conveyed by the twin protagonists in this intimate, concise drama will stop you in your tracks. Rarely a sharp-eyed depiction of a mourning period takes the form of an exceptionally tender experience. Review
Combining fantasy and reality, tears and laughter, sports and arts, as well as the vulgar and the sensitive aspects of life, The Hand of God might not be a masterpiece but is certainly one of a kind. Review
Yearning and confident, funny and sad, this is a film that deftly combines the tender and the fierce of life. Review
Unhurriedly delivered, Balloon plays out like a naturalistic fable in which ancient traditions clash with a more modern vision. It becomes strangely moving during the peacefully elegiac third act, and it’s beauty, unpretentiousness and message should be enough to appeal beyond its art house niche. Review
Well patented here is his penchant for projecting women to the center of a story while directing them with real affection. Review
There’s nothing really groundbreaking here, even considering that this dark and lurid thriller comes from a director who has firmly established himself as an innovator. Nightmare Alley plays more like an ever-shifting, lopsided endeavor that finds the right magic to catch us in a villainously astute manner. Review
Suspenseful and powerful from minute one until the end, the film provides a harrowing look at how an apparently safe gathering could veer into a nerve-racking, life-threatening situation. Review
Staged to be funny, Don’t Look Up fails each and every move. I count no hits but rather thousands of misses in a film that, attempting to depict our times of disbelief in science in favor of conspiracy theories, misses the opportunity with the force of a 100-km wide comet moving at a jaw-dropping high speed. Review
With a few stark shots and coherent vision, Red Rocket finds disenchantment and hilarity in America. Review
Spielberg's West Side Story didn’t thrill me, and I’m still wondering why this half-hearted, unimaginative film was even made in the first place. Review
Persuasively made, I’m Your Man is a smart move that elicits both strong thoughts and feelings without ever becoming creepy. Therefore, just let it gnaw at your own humanity. Review
The enchanting black-and-white cinematography by Haris Zambarloukos is responsible for the seductive looks, and the performances enhance the director’s lingering sense of sentimental nostalgia. This work - dedicated to those who have departed, those who have remained and those who have lost their lives - is fairly enjoyable but not especially mesmerizing. Review
The film won the Best Screenplay award in Cannes, a totally deserved accolade for setting an incredibly subtle example of cinematic virtuosity and poetry. Review
Considering all the facts, the low-key Son of Monarchs is passable. Review
The restlessness of Prayers for the Stolen never ebbs and that makes for a thoroughly entertaining, if somewhat exhausting, 110 minutes. Brilliantly composed, it finds beauty as well as ugliness in this part of Mexico, a place where the cartel enforcement and the violence steal the innocence of the local female teens, depriving them of freedom and a proper life. Review
It will likely lodge in your head for a while, thanks to the rigor with which it was mounted, and the top-notch performances from Landry Jones and Judy Davis. Review
Even not packing a gut-punch, the film tickles then pinches, advancing confidently toward a satisfying conclusion. Review
Rarely as playful or fluid as it hopes, the film declines instead with pacing fluctuations in its middle section - when it mostly relies on Paolo’s idiocy and excessive Italian-accented speech to amuse - and an unemotional conclusion that definitely fails to elevate the account into something satisfying. Review
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