These are all the movies and series that Filipe has reviewed. Read more at: Always Good Movies.
Number of movie reviews: 2026 / 2026
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Maiwenn manages to transform the manners and behaviors of the time into effective humor, but the film suffers from a disinterested, passionless performance by Depp, which contributes to the film's plodding pace. Review
The pair Loach / Laverty, who has been working together since 1996, leaves us at the doorstep of an intercultural consolidation one can only dream of. The intentions are noble but The Old Oak doesn’t really come off despite the painful dramas behind each character. Review
The structure may challenge some viewers, but those who stay engaged will find plenty of awkwardness offering a distinct cinematic pleasure. In summary, the surreal and ambiguity never dwindle the emotional stakes. Review
Although Morris' direction may be criticized for feeling somewhat static, there is a certain fascination in witnessing how le Carré, often labeled the ‘poet of self-hatred’, crafted novels that seamlessly blended imagination and personal experiences with unparalleled competency. Review
Abrasive at the surface but warm in its fleeting moments of reflection, the film muses and liberates rather than demands or confines. Review
Fincher makes a shift in the way he returns to the genre, keeping the audiences suspicious and attentive to every possibly relevant detail. Even if they take us nowhere, one still enjoys this restless feeling and unbending tension throughout. Review
The slow-paced developments serve to reinforce ideas, clarify relationships and positions, and establish a deep connection with the characters. And we are struck by the touching performance of Sofia Otero. This is a sincere and painful portrait that, while breathing intensely, avoids relying on pathos. Review
Despite potential in the machine-versus-heart dynamic, the film falters, and even Jessie Buckley's charm can't salvage an underwritten story that yearns for more depth. Review
The cinematography by Michael Latham has an exciting, alive quality despite the dusky tonality of the long nights captured in camera, but if you're seeking horror, thrills, or stimulation, this may not be the film for you. Review
We are caught in the gut with this painful reflection on the American history, transformed in a momentous, highly entertaining picture. Review
Compact and modest in its storytelling, this film can be both heartwarming and heart-wrenching in equal measure. Review
Hüller exudes dazzling charisma and oozes class with her performance, while Triet is at the top of her game, creating a precise, intelligent portrait of a free woman whose confidence and composure never seem shaken. Review
Despite the formless ramble of its structure and the emotional distance that impairs some its scenes, the film tackles an interesting topic and features reasonably solid performances. Review
Carney seemed inclined to embrace the realism of directors like Ken Loach, but then gets too busy honey-coating musical sequences marred by cloying sentimentality. Sadly, they never fill you up. Review
It falls short of realizing its full potential, with a conclusion that doesn't quite measure up to the rest of the narrative. Review
This amalgamation of gangsta-rap and gangland themes is a soulless misfire from a director we know capable of delivering better. Review
More corny than enthralling, and constantly overacted, Full River Red fails to emotionally invest the audience in the narrative. Lamentably, Yimou didn’t put enough effort into this one to provoke or engage the viewer. Review
At times, the story may follow predictable patterns, but it remains consistently fascinating, steeped in lyrical enchantment and fierce determination. What truly lends the film its mesmerizing atmosphere is the quietly radiant black-and-white cinematography by Brazilian cinematographer Lílis Soares. Review
The material offered the potential to create something thought-provoking and didactic, but he squandered the chance by allowing an invertebrate scenario. Review
Silva's direction falters while striving to shock the audience at every juncture, and the repetitive scenes never compensate the lack of ideas. Review
Bottoms provides gay-themed material aimed at teens with a level of insight that rarely rises above standard parody. It didn’t resonate with me, but at least the cast appears to have had a blast in this feminist celebration of love, youth, and friendship. Review
Equipped with daring shots, classical arias, religious chants, and a fair dose of madness, the ultra-hype El Conde is delirious and violent. Review
Provocative without being excessively flamboyant, Cassandro is endowed with remarkable performances, underlining themes of freedom, courage, and ambition in most scenes; it offers an engrossing exploration of Saul’s duality in life. Review
The director remains on the surface, weaving a crass hodgepodge of elements that don’t fully coalesce. However, respectable performances by Asante Blackk, Kylie Rogers, and Tiffany Haddish were a positive surprise, and that paid off in places. Review
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