Christofer has written 5 reviews for films rated ★★★★ during 2015.

  • Pasolini



    "It's you from the dream, apparently idealized, but actually real."

    My response to Pasolini the first time around was very mixed, impressed by some scenes but somewhat perplexed by its dispersiveness, I was sure the slight disappointment came from my lack of preparation for what is offered here, and revisiting many of Abel Ferara's films in the past few days certainly helped me seeing it from a different perspective. That surprise with loose ends and fragmentation was, predictably, unjustified, even…

  • The Counselor

    The Counselor


    I already liked The Counselor a lot when it came out in the theaters, but this Extended Cut is a big improvement. I felt that specially in the scene with Bruno Ganz selling the diamond, an excellent piece in itself that was cut in half and missed stuff which also gave more consistency to the first conversation between Fassbender and Bardem, right after, and even the ending benefits from it. So, not only the longer dialogues make the overall structure…

  • Invaders from Mars

    Invaders from Mars


    One of my favorite scenes in Don Siegel’s sci-fi masterpiece Invasion of the Body Snatchers happens when the characters are running away from the pods and hide in the protagonist’s office, for the second time in the movie they will take a look through the window and observe the center of the town, to know if they are safe, and it is the same shot we saw the first time, but it lasts a few seconds longer, and now, after…

  • Boyz n the Hood

    Boyz n the Hood


    Its worst part is the very beginning: text and sound dictate the overall atmosphere and present the big social issue, and the first image is a direct response, "stop", damn, this could be a ridiculously simplistic thesis film, but that expectation fortunately does not materialize. The following sequence sets up the neighborhood almost as a separate universe, a jump back in time to a rundown city from an old western where progress became impossible and only outlaws could inhabit, full…

  • Deadly Blessing

    Deadly Blessing


    Deadly Blessing marks the transition between the confrontational cruelty of Last House on the Left/The Hills Have Eyes and the more allegorical, elegant later works by Wes Craven. Unfortunately, it's a flawed film, it doesn't achieve harmony between the very distinctive genre conventions it's rooted on, its overall mysterious tone is continuously brought down by the banality of the slasher bits, by their rough, lifeless construction (the movie's low points, accompanied by a typically overwrought score by James Horner, it…