Movie reviews of Filipe Freitas

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

The truth is: it didn’t move me in the end, but it’s guaranteed to give you the chills, reminding you of the ruthless deeds of those driven by greed and power. Review

Kaurismaki emphasizes human resilience and the value of love with his filmmaking gestures, in an absolutely gorgeous and hugely affirming love story. It’s one of those pure delights that’s hard to resist. Review

Haigh confirms the immense filmmaking capabilities and storytelling expertise previously showcased in films such as Weekend and 45 Years. Review

Recondite emotional stimuli surface intermittently with lucidity in each character, often without the need for words. Review

While visually polished, the film relies increasingly on melodramatic contrivances rather than exploring character depth, with Clooney sugarcoating Rantz’s predicaments without delivering the necessary emotional impact. Review

The Taste of Things may not move mountains, but all in there is grace and melancholic bliss, making it a sensory experience worth savoring. Review

The film shapes as a provocative, thoughtful, sometimes minimalist dramatic fresco, deliberately illusive in structure and narrative. Review

Even though the script may not reach great majesty, Io Capitano remains an indispensable movie about a disturbing global issue with no immediate solution at sight. Its path evokes both touching and shocking emotions simultaneously. Review

Sensuality, desire, and depressive insanity are predominant factors in a story that recites all the commonplaces of the genre without possessing the sophistication of its models. Despite incorporating some twists that force changes in direction, Eileen falls short of being exciting, concluding with a rushed ending that lacks surprise or shock. Review

The way the 16-year-old protagonist is tempted and entrapped is portrayed with authenticity, and McKenna-Bruce capably conveys the emotional tumult associated with such a transformative experience. Review

While Society of the Snow may not be a constant nail-biter, there’s enough of an emotional engine driving interest in the story. Magnified by Pedro Luque’s sharp cinematography, this stress-inducing film offers a sensory experience capable of accelerating your heartbeat and diverting your mind from minor troubles. Review