Christofer has written 8 reviews for films rated ★★ .

  • Kickboxer 4: The Aggressor

    Kickboxer 4: The Aggressor

    Kickboxer - final dos anos 80. Um belga perde o irmão e seu lado americano mas resgata sua alma quando encontra o amor, a amizade e a beleza nas profundezas da Tailândia. Depois que Tong Po e a honra do submundo tailandês vão pro saco, cineastas locais no saco dos pais sonham em aprofundar no que restou: nada. A moral da vingança.

    Kickboxer 2 - início dos anos 90. Um havaiano criado no Japão vai ao coração dos EUA resgatar…

  • Maria José

    Maria José

    Em Maria José se esboçava a tensão cabal de atração e repulsão dentro dos planos, um movimento impreciso em busca de “algo” que não se encontra, algo que pode estar presente e é sugerido, mas nunca sentido. Algo chama os olhos da menina Maria, recônditos como o alvo de sua confusa busca, forçando-na a preencher um espaço e esvaziá-lo bruscamente. Algo menos vago seduz José, incapaz de lidar com a impérvia distância da menina que busca.

    O trabalho ainda é…

  • The Naughty Stewardesses

    The Naughty Stewardesses

    I was not exactly expecting proto-Showgirls from an Al Adamson/Samuel Sherman production entitled The Naughty Stewardesses containing confessional monologues such as "See? Life to me is one big orgasm, getting stronger and stronger, I guess that's why I eat so many men". Only in intent, not result, of course. There isn't a hint of Verhoeven's elegance on display, or even decent craftsmanship, for the most part. This is Al Adamson, after all, and I would not dare call it a…

  • Don't Go Breaking My Heart 2

    Don't Go Breaking My Heart 2


    The reason I got way less excited about this sequel than everyone else is probably due to watching just one day after discovering the original, a masterpiece, nothing less. Don't Go Breaking My Heart 2 has great scenes, but mostly redundant great scenes, it is, almost entirely, a repetition of the first movie (which was already filled with repetition), with small variations (sometimes too obvious, such as the inverted images), and that is not the problem in itself, but the…

  • Suspect Zero

    Suspect Zero

    I understand the comparisons with Seven, as a product, but this is very different in intent, form and overall atmosphere. On the positive side, unlike David Fincher, Merhige seems to have genuine interest in this very confused project, trying to bring to the surface the few ideas contained in a terribly written script, concerning not only justice (as Seven believed it discussed) but mostly the devastating impact of the procedures on all those involved (and maybe the only time since…

  • The People vs. Paul Crump

    The People vs. Paul Crump

    Pretentious early documentary from the great William Friedkin. Portraits the problems around the case of Paul Crump, a black man waiting on death row, convicted of murder, using testimonies (either supporting Crump’s innocence or speaking against the death sentence) as basis for recreations of the actions that led to the conviction.

    These flashbacks, a big part of the movie, may be the main problem with this. While surprisingly well crafted, they are redundant illustrations of what is said in the…

  • Godzilla


    Discussed here, along with MONSTERS.

    "GODZILLA (...) is an awry spectacle, which maintains a clear dichotomy between the (predominant) sequences about the characters and those about the monsters. If one part of the San Francisco sequence, when the humans are running for a shelter, initially reeks of cowardice by denying the great confrontation at its center, this is soon justified and compensated in the next scene, with the paratroopers’ jump in the city right after it has been totally transformed…

  • The Ganzfeld Haunting

    The Ganzfeld Haunting

    “I love the smell of cocaine in the morning.”

    This is the kind of decadent shit I wish we would be seeing from the recent "neo-grindhouse" trend, that instead of adopting outdated conventions with a mocking tone, is more true to the spirit of those movies and so becomes a perfectly conscient product of vague appropriations of ugly, ridiculous and immoral images from contemporary low culture. It could be the intersection between late Lucio Fulci, Tony Scott and the poor,…