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Lixo impróprio para ser assistido (unwatchable trash)
Reviews
AfrAId (2024)
The decline of Blumhouse
Horrendous cinematography, pathetic performances, and childish dialogues that fail to support a silly plot and extremely dull characters. The forced attempt to incorporate diversity and progressive ideologies only exacerbated the film's unbearable nature, prompting me to finish it at 3x speed. The collaboration with Sony merely underscored Blumhouse's irreversible decline; once renowned for producing great films, it now confines itself to forgettable and irritating releases, as if trapped in a spiral of mediocrity. Additionally, the lack of genuine suspense and poorly executed plot twists made the viewing experience utterly disappointing.
Murder in Greenwich (2002)
A hollow narrative marred by ego and inauthenticity
I lost interest in this film in less than twenty minutes. The victim, far from being a saint, pretended innocence while manipulating one brother to get close to another who wasn't worth what the cat buries. It's absurd that, at the end, a pious song plays as if she were the martyr of a convincing tragedy. The first-person approach, with a ghost narrating her own death in front of the cameras, is laughable. The arrogant writer doesn't evoke empathy, nor does the local ex-police officer. There is no real investigative tension, nor are any suspects raised. The ending is unsatisfying, an empty echo of a lifeless narrative. Furthermore, filming Connecticut in California, with palm trees in the background, reveals a lack of care; they didn't even get the name of the local newspaper right. Mark Fuhrman, seeking redemption after the infamous O. J. Simpson case, turns the film into his ego's stage, exaggerating his importance and attracting desirous glances that feel fake.
Root of All Evil? (2006)
The unprecedented pride of modern man
The modern man, singular in history, carries the unusual pride of living in his own era - a novel sentiment born from the marvel of technology and a Promethean mindset. We proclaim that science unveils the mysteries of nature, imagining ourselves freed from illusions and superstitions. Yet science itself rests upon beliefs and subtle superstitions, differing only in form from those that existed before the Enlightenment. The "scandal of reason," as Kant called it, persists: we cannot conclusively prove the simple evidence of an external world independent of ourselves. Karl Popper, with prudent diplomacy, suggested that this external world is merely a working hypothesis for natural science, careful not to offend the sensibilities of the modern spirit.
Girl Missing (2015)
A promising thriller undermined by lifetime's usual flaws
This thriller shows some promise but ends up being 'almost satisfactory,' hampered by the typical forced quirks of Lifetime, which seems institutionally committed to ruining its productions. In fact, I only realized it was a TV movie when I quickly associated it with Lifetime! Although the visuals and landscapes are appealing, and the gothic mansion stands out, the story proves to be predictable, focused on just a few characters, and fizzles out as the film progresses. Despite these flaws, the performances are good, especially that of the charming Eastwood, daughter of veteran Clint. The plot maintains minimal coherence, as long as you pay careful attention to all the headlines of the articles the characters browse on the internet. This somewhat elevates the experience, although it still can't escape the limitations of a shallow storyline and a mediocre execution.
Falling Down (1993)
The escalation of absurdity
I recall when I read "The Stranger" by Albert Camus: as I immersed myself in the book, I felt a strange atmosphere around me, as if the absurdity in which the characters lived had escaped from the novel and permeated the real world. This experience of the absurd, through psychological osmosis, tends to paralyze the conscious mind, but only for those who clearly recognize absurd situations; for Camus's characters, the absurd is an unconscious condition. Life always carries with it something of the absurd, and that's why we seek a certain logic of things, an order that is intuited or demonstrated. However, in recent times, we live in an environment where absurdity seems to dominate social, cultural, and political reality, excluding any possibility of logical verification that counterbalances the natural coefficient of absurdity in the world. It seems that an unreal world from Camus's books has leaped off the pages and taken on a life of its own, and that his characters now animate the world, inadvertently unconscious of the absurdity in which they themselves live.
Michael Douglas portrays an ordinary man who, faced with daily frustrations and alienation in modern society, begins to perceive the world around him as profoundly absurd. His journey through the city exposes situations where the sense of logic and order disappears, reflecting the feeling that the absurdity of Camus's literary universe has escaped into reality. The character experiences a world where the absurd permeates the real world, and the people around him seem unaware of this distortion, aligning with the idea that the characters now animate the world, inadvertently unconscious of the absurdity in which they live.
The story of the character D-Fens was written in 1992. Imagine what a contemporary version of this thriller would be like, with the coefficient of absurdity even more extreme in our current times!
Sobrenatural (1996)
A delicate performance in a world of paranoia
A horror film steeped in paranoia and isolation. Zabaleta shines in her role, carrying the film with mastery, while the plot unfolds with suspense, despite some script issues. The work, although not perfect, avoids falling into clichés.
One of the best Mexican films I've seen. So enjoyable that I watched it twice. The actress, who is small, beautiful, and delicate - traits I find appealing - fits perfectly into the protagonist's role. The film has an engaging atmosphere, with a good pace and excellent cinematography. However, you must suspend disbelief regarding the psychiatrist, as it's hard to believe - especially for us Brazilians, accustomed to mercenary professionals - the level of care and attention psychiatrists in other countries give to their patients.
Unter Nachbarn (2011)
Engaging and atmospheric watch
Despite being European, this German thriller aligns more with the American school of cinema. It captivated me with its perfect pacing, allowing me to watch it as one would enjoy a cup of coffee, without needing to pay excessive attention to details or suspend disbelief too much. It is not, however, a simplistic film; the plot is interesting and atmospheric, and the dialogues, although simple, are not silly. The core of the story and the good performances make it a solid thriller. Perhaps it could have been better without the unnecessary additions that the director includes to please the producers who finance the work, but even so, it's a film worth checking out.
The Mill (2023)
Trapped in the corporate cycle
The story reflects our modern existence, especially regarding the corporate goals that imprison individuals. However, I don't see artificial intelligence as a villain. On the contrary, I believe it has the potential to free humanity from the shackles of repetitive work, paving the way for a more meaningful and creative life. The film explores the idea of being trapped in cycles of work and submission, where, no matter how hard we try to escape, we are kept under control by corporate forces. The narrative involves a dystopia where employees are punished for poor performance, confined in a setting where the terror is psychological. The protagonist experiences this oppression alone, with deep metaphors and an atmosphere that prompts reflection on the purpose of our existence. Even with moments where the plot seems to drag and the excessive use of dream sequences, the acting is brilliant.
Rose Plays Julie (2019)
A Nonsensical and Unjust Premise
I found the movie nonsensical and with a premise that satisfies no sense of justice. The logic of the film: 'my mother thought several times about killing me (aborting) and, in my unborn state, abandoned me out of sheer selfishness; next, I'll go kill... my father'! Additionally, all the characters are unbearable, and I couldn't empathize with any of them, losing interest in the film from the very beginning. The story is extremely bleak, with weak performances and dialogues that seem to be read directly from the script, lacking any emotion. Not to mention that the ending is also senseless, as the guy lets himself be killed.
Pontypool (2008)
A Thrilling Metaphor for the Perils of Social Atomization
In this thriller, the epidemic spreading through the town is transmitted by words, affecting the very language people use to communicate. This idea can be seen as a metaphor for the social fragmentation that occurs when communication between individuals breaks down or becomes toxic. As words become carriers of a "virus," people are separated from one another, unable to connect in a healthy and meaningful way. This reflects the disintegration of social bonds that occurs in an atomized society, where communication and mutual understanding are replaced by distrust and fear.
Pontypool is a thriller that disturbingly encapsulates the consequences of the atomization of society, a theme that has been widely discussed in philosophical and social terms. The ongoing process of societal atomization, while it may increase individual autonomy (Kant) and make life easier for reserved individuals by reducing social surveillance, also carries significant risks. The fragmentation resulting from this atomization can lead to anomie (Durkheim), where shared norms and values dissolve, creating a vacuum that fosters phenomena such as mass formation (Mattias Desmet). In Pontypool, we see a visual and narrative metaphor for this disintegration: as communication breaks down, society falls into chaos, reflecting how atomization can disorient individuals and, ultimately, pave the way for the rise of totalitarian regimes (Hannah Arendt), which exploit this disorientation and loss of individuality to consolidate power.
El hombre de al lado (2009)
A Disappointing Execution of a Promising Theme
The film attempts to tackle a relevant theme but ultimately fails in its execution. The only part that truly stands out is the ending, which was fair, but it doesn't justify the time I wasted. Regarding the theme itself, it's frustrating to see how laws exist only on paper and are merely for show, which explains the perpetual stagnation of Latin American countries. While the characters and plot are believable, the repetitive cinematography and excessively long scenes make the film a tedious experience. Moreover, despite being marketed as a thriller, it's more of a drama with touches of comedy, one of the genres I detest the most.
Nope (2022)
A Complete Waste of Time
One of the worst movies of my life, a comedy disguised as horror, irritating and full of elements that annoy any sensible viewer. The film is bad, weak, clumsy, and silly, and if there were an option, I would give it a zero. The direction, as expected from a racialist who aligns with progressive trends to attract attention, only confirmed his lack of talent. With a disjointed plot involving aliens and even a killer chimpanzee that has no connection with the rest of the story, the film is slow, boring, and absolutely meaningless, to the point where I completely lost interest after less than 14 minutes. The plot and dialogues are so absurd that the characters seem lost on screen. The music doesn't make sense, and the editing is full of abrupt cuts. All the other films by this director are equally mediocre, with childish plots, weak dialogues, and tiresome clichés. These are, without a doubt, a waste of time and money, and the only response I give when someone asks me to watch them is: "Nope!".
Instinct (2019)
The Amateur Whoring of a Directionless Film
An absolute waste of time, offering nothing in terms of a coherent plot or meaningful events. It's a film where absolutely nothing of substance happens; instead, it's filled with scenes of blatant whoring around that would be far more appropriate in a low-grade pornographic film than in anything pretending to be a legitimate movie. The female director, who clearly lacks any real talent, fails miserably at creating anything worthwhile. The camera work is poorly executed, contributing to the overall feeling of an amateurish and tedious production that lacks any professional quality. The entire film exudes the vibe of a cheap, backyard porn flick, with its poorly handled cinematography and complete lack of direction.
Curvature (2017)
A Mixed Bag of Thrills and Sci-Fi
It was difficult to decide whether this thriller/sci-fi was satisfactory or unsatisfactory, but I ultimately leaned toward the latter, despite recognizing some positive aspects. The cinematography is excellent, and the acting stands out, both from the actress who played the lead character and the supporting cast. While I appreciated the absence of exaggerated special effects and the more restrained approach to the time travel theme, the plot has its flaws, with elements that could have been omitted or developed differently. Overall, the film isn't bad to the point of causing frustration, but it didn't reach the level of quality I expected.
Love Thy Neighbor (2006)
Lifetime's Misstep: A Disappointing Film
The director, who has done a good job in another film, disappointed me this time, probably due to impositions from the feminist Lifetime producer, who introduced inappropriate elements. I believe the couple's child character should have been a boy, not a girl-unless she was mentally unbalanced. The film is not entirely bad; the plot is interesting, but I don't watch films to get angry. Films with reversed gender roles that overly emphasize this reversal are not only absurdly ridiculous but also cause me significant irritation. Therefore, it receives my rating and note of disapproval and rejection.
La Misma Sangre (2019)
An Unjust Ending: A Flawed Storyline
Firstly, the death of the adulteress was accidental, and I was happy with her death. As for the death of the adulterer, it was in self-defense, as he had already assaulted the protagonist and was going to attack him even more. The ending of the movie ruined the experience because it was absurdly unjust. Moreover, it makes no sense to think that the protagonist killed the adulteress just because they found a bead from the necklace in the living room and not in the kitchen; that wouldn't be evidence to anyone in real life. Although I liked the movie up until the halfway point, an hour later it became clear that the story the director and/or screenwriter proposed was leading to an unfair ending.
The Puppetman (2023)
A Huge Waste of Time: Childish Plot, Silly Dialogue
I only watched it to the end because of my "cinephile obligation," but even then, I had to do it at 2x speed. My 14-year-old son, who was watching with me, gave up around the 10-minute mark, saying, "Dad, what a silly movie!". There is nothing worthwhile in this film, which is more comedy than suspense. Comedy cancels out suspense, and vice versa. The dialogue is childish, the actors are bad, and the characters are so idiotic and ridiculous that no one in real life would be interested in them. The story is shallow and lacks depth. The plot is overused, the ending is predictable, the visuals are weak, and the music is poor. In short, watching this nonsense is a huge waste of time.
Intrusion (2021)
Lackluster Performances and Predictable Plot
Another Netflix production that doesn't disappoint in negative reviews. From the start, the annoying and clueless co-lead triggers the viewer's antipathy, while the male co-lead, despite saving their lives, becomes the target of her anger for keeping a firearm at home, which ends up being crucial for their survival. The Indian actress is "bland" and "uninteresting", and doesn't help elevate the film. The ending, revealing that the protagonist's nature was the cause of everything, is ridiculous and unsatisfying. The visually sterile and predictable production follows a worn-out pattern, failing to bring originality or excellence. I'm not against making films without originality, with very worn-out themes, as long as it's an enjoyable work and adds excellence. The dialogues are poor and the plot doesn't hold up.
Raven's Hollow (2022)
Visually Striking but Narratively Lacking
I confess that I tried hard to like this movie, watching it twice: once in the original audio and once dubbed, to avoid missing any nuance of the story due to idiomatic expressions. Initially, I thought it was a complex film, which would be great, but I realized that the supposed complexity was just confusion. In conclusion, it is merely a well-shot work without a cohesive plot, which is unfortunate. Although the concept of Edgar Allan Poe as a cadet investigating supernatural mysteries is intriguing and the Gothic atmosphere is well-crafted, the lack of consistent development hinders the experience. Despite the good acting from the cast and the impressive cinematography, especially for a low-budget film, the plot drags aimlessly. The attempt to capture the essence of Poe's tales was unsuccessful, resulting in a visually pleasing but narratively unsatisfying movie.
Homewrecker (1992)
It has some flaws
Contrary to what many might think at first glance, it doesn't fit the label of "trash," but rather as a serious film - and that's a positive thing, as I detest the nonsense of "trash" movies! However, even with this serious approach, some parts of the plot seem somewhat implausible. The narrative, despite attempting to explore a difficult theme for its time, ends up falling into some improbable situations, which affects the viewer's immersion in the story. Nevertheless, the film has its merits, such as competent direction and convincing performances from the cast, managing to maintain the audience's interest despite some flaws in the screenplay. Overall, the film presents an interesting proposition but could benefit from a more realistic approach in certain aspects of the plot to create a more impactful experience.
The Last Boy (2019)
Engaging Atmosphere, Unanswered Questions
While the film was conceived with the potential for an engaging experience, unfortunately, it failed to live up to its aspirations. The lack of detail in the plot left it devoid of depth, preventing viewers from fully engaging. However, it's worth noting the talent of the child actors, whose performances were exceptional, with particular praise for the portrayal of Sira. Nevertheless, the open-ended conclusion was a questionable decision, leaving audiences yearning for a more defined resolution. Despite these shortcomings, the film managed to maintain a smooth pace and a mysterious atmosphere, qualities that may appeal to those who enjoy deeper reflection. However, considering its science fiction genre, the lack of detailed explanations about the presented phenomena is a notable flaw. In summary, while it has its positives, the film falls short in execution, especially considering its narrative ambitions and its context within the genre.
Flowers in the Attic (1987)
A promising premise hindered by execution
Although the film has an intriguing premise, its execution falls short. The narrative lacks depth and maturity, compromising its ability to engage the viewer. At times, the approach feels simplistic and unsuitable for the more mature target audience, reminiscent of productions aimed at children (such as those by Steven Spielberg or Stephen King). The scenes appear forced and unconvincing, undermining the credibility of the events and making the film experience less impactful. While the story has potential, its realization is lacking, resulting in a work that fails to reach its full development.
Outpost (2008)
A Satisfactory Thriller, but Lacking Impetus to Continue
It offers an intriguing blend of horror, science fiction, and supernatural elements set in a post-World War II backdrop. The film skillfully crafts a dark and mysterious atmosphere, delving into Nazi experimental horrors and survival in the abandoned military outpost.
The plot initially captivates with its promise to unveil disturbing secrets and thrust protagonists into unknown forces. However, as the narrative unfolds, it treads a fine line between intriguing and predictable. Plot twists, impactful at certain points, gradually lose some of their vigor as the story approaches its conclusion.
The film has its merits, including a tense atmosphere and an intriguing exploration of Nazi scientific aspects. However, character development and the explanation of supernatural events fall short, preventing the plot from reaching its full potential.
While it manages to sustain interest throughout its duration, the lack of deeper resolutions and the impact of final revelations may leave some viewers feeling that the film could have delved further into exploring its own universe. Consequently, this contributes to a conclusion that doesn't immediately prompt a desire to watch its sequels.
In summary, it delivers satisfactory entertainment, but its narrative could have benefited from a more profound and cohesive approach to truly stand out.
The Veil (2016)
A serious film as every horror movie should be
A 'found footage' film with a documentary-style plot that was NOT filmed in 'subjective camera.' I could end my review here, which is positive.
It's a good thriller. I think the low ratings come from people who are not fans of the 'horror' genre but instead enjoy other genres like 'comedy.' They were looking for something funny to laugh at and didn't find it because, like any respectable thriller/horror, it's a serious film. In summary, 'The Veil' is a solid addition to the genre, offering a genuinely chilling and suspenseful experience for horror enthusiasts who appreciate a well-crafted and intense film.
Swallow (2019)
Eat and defecate
The best synopsis: the film is about a very crazy woman who eats crap and defects children in the toilet. It doesn't have fun, doesn't instruct, doesn't build (the soul), no wonder (like art). You don1t waste your time. Total garbage.