Reviews

A cool with its exuberance, fast editing and its combination of color and black-and-white captured in a difuse manner, the video of "Notorious" is best remembered mostly due to its song, from album of same name back when Duran Duran was a trio.

Great track (from a quite underrated album), but clip performances are difficult to truly grab viewers attention unless if there's something else within the act of playing instruments, dancing and mimicking the song. Besides song and dance, nicely performed by the group, there's the presence of female models, including an early appearance from Christy Turlington.

All in all, the clip doesn't look too dated as their early entries but it's tough to beat the quality uniqueness of "A View to a Kill". 8/10.

This clip of Everlast had one of those great admirable ideas of mixing a song performer interacting with clips from a movie where the song is part of a soundtrack. I don't think it plays on the film in question, "End of Days" starring Arnold Schwarzenegger and Gabriel Byrne, though it appears on the CD, and the rapper had this exact clip that uses some of the film sets to compose its performance. I usually like those music videos, but this one was ineffective with nearly everything.

Weak music and Everlast is only a mere observer of the conflict of the police officer (Arnold) trying to save an innocent woman (Robin Tunney) from the hands of Satan (Byrne) as New York city welcomes the year 2000. He appears on the front stairs of the apartment where the girl lives, inside the subway where she has the frightening vision of the mysterious smiling albino man (Victor Varnado), and also the church where it all ends in the film. We don't have a real interaction where he could physically interact with the characters, neither he affects the story, and it was missed chance - or maybe because director Peter Hyams wasn't involved with the clip.

It's only slightly interesting as it knows how to sell the apocalyptic movie. Other than that, there isn't much to admire here. 5/10.

Only saw it cause it was one of the many extras present on the "End of Days" dvd, and what a weird-looking, bizarre sounding music video. It's a mix of a terribly filmed performance Rob Zombie and clips from the film (of which I'm very favorable). Images flashing non-stop, so stay away if you're sensible to that kind of imagery and trust me, you will feel sick watching it, aligned with a "song" that doesn't appeal in any possible way. The debate regarded to being a Rob Zombie or not is not a matter of concern as there were possibilities to become a watchable music video or even have something worthy listening.

It had nothing worthy of view. 2/10.

"Too Little, Too Late" takes on the subject of parents caring for their sons, victims of AIDS, during their final moments of life. It's a testament of love, courage and devotion that goes on a different route of what happened to many men, women and children who suffered with the disease when most parents shunned away from them, out of fear and ignorance.

While present on many good films about the topic, Micki Dickoff's video documentary gives us the reality of such family dynamics through a series of mothers sharing their stories about their sons, how they dealt in knowing they were gay and end up becoming sick, moving on from small prejudices to embracing, helping and loving them at their final moments. It shows the mothers experience on the group MAP (Mothers of AIDS patients), where they helped each other in coping with their grief; and also there's a support group embraced by a female guide/director revolving on patients whose family members rejected them or showed up too late to offer some comfort and help. Plenty of activism against the disease was also formed by such encounters; and we also have two doctors who educate a little about AIDS and show their experiences while dealing with different families than the ones featured here.

It's a difficult view but rewarding as it shines a great light about special bonds that can never be destroyed. It showed true noble values about caring families, their struggles in embracing their loved ones when they needed the most, without judgments or discrimination. It worked for me as I watched something different than the certain "norm" as related to that tragedy; the parents in this film should be the norm back then. And there were so few of them willing to expose themselves, also facing prejudice in their neighborhoods and jobs just because they lived with someone who had AIDS.

The light of hope amidst the darkness that I like to think it helped more parents in reconnecting with their sons or other suffering parents, or also their son's partners, as evidenced by one case where a lady accepted her sick son and his partner in her home - possibly the case that inspired the director of this film to write "Our Sons", starring Julie Andrews and Ann-Margret. Stories like this make us think less negatively about the dark period of a deadly new disease. There was kindness, care, love, respect and closeness to some of its victims, and while the title ponders about the timing and quantity of those qualities and affection, it's best to think that it was better than nothing, which was almost a general rule. 8/10.

"Aviso aos Navigantes" is one of those songs that most listeners don't associated by its title but rather with a key phrase from it which "S. O. S.

Solidão" ("S. O. S. Loneliness") becomes very memorable. While Lulu Santos electro/pop song gives us the idea of a lonely sailor lost at sea trying to establish communication with anyone over the radio, the video moves to another direction that gives a similar effect to make some reflection: the internet. This was done before the world wide web become the sensation it is just as much that internet song by Gilberto Gil (though it sounds a little dated now). Ahead of its time and must say, it'll always be convenient for navigators of the seas and navigators of the web.

A series of effects dominate its visuals by showing Lulu being out of focus, slightly distorted images as if he was dealing with signal problems.

It's impressively well made considering the period, capturing the kind of computer imagery of that time, and it greatly sells the song while dealing with the exisiting distance of human communications, wheter being through radio form (ship/boat), the internet and phones, and even close social relations.

He tries everything to establish some form of contact yet all he hears are the repetitive echoes of himself saying "S. O. S Solidão". It amazes me how he could predict this idea of the world during internet early days.

The song has a nice beat and everything works. It's a favorite of mine to hear now and then, except on one particular radio station that edits some of its instrumental bits (Alpha FM, I'm looking at you!), it was a lame editing job. But when they play, I listen. 9/10.

A great and lovely duet performed by Paula Toller and Donavon Frankenreiter, "It's All Over" combines two different artists with their unique particular styles that made a nice, soft blend to the senses. Though made in Brazil, it's sung in English so to anyone outside of Brazil here's a great chance to hear Kid Abelha's vocalist singing in your language - she has a very melodic voice. As for Frankenreiter fans, I'm curious to know if they know this song, if it had a life elsewhere (it had a little run at the time of its release, playing here and there).

The video makes a mix of animated and real sequences of a beach, the ocean, guys playing soccer, along with Toller & Donavon performing the song on studio, as well some quiet moments of the female singer. It all creates a mood for peaceful and quiet days, set to make you enjoy time and feel relaxed despite the lyrics idea of a break-up song, moving on to something different than what was experienced previously. Unusual combination, but it works.

One of the many hits from their album back when they were still known as Kid Abelha e os Abóboras Selvagens, "Alice (Não Me Escreva Aquela Carta de Amor)" end up becoming a quite effervescent song over the decades. It's pretty good but also very underrated as it didn't have much a life of its own in following decades, if compared with "Fixação" or "Como Eu Quero" - wasn't even played at their 2003 MTV Unplugged. But I like it's fun rhythm and the lyrics.

Another case of performance video, nothing so special except for Paula Toller's hairdo in a different color instead of her memorable blonde hair (plus it's shorter), and Leoni as part of that formation (I got to know Kid Abelha only as a trio).

Toller's act singing very close to George Israel makes it all cool to watch, as they always did. Everybody's playing hard and having lots of fun with each other, dancing and moving around. 7/10.

The universal lack of acclaim "Capote" is totally deserving and not exaggerated at all. Josh Trank's film is bad, really bad. Despite being done to his exact specific, after the infamous "Fantastic Four" and his fights with the studio, the film doesn't reward the viewer with anything, doesn't make us curious about the myths on controversial criminal Al Capone, and only alienates all kinds of audiences: crime/drama/biopic fans; Capone enthusiasts or simply the people who want to learn about the man and his dangerous legacy.

I knew this film would be about the final days of the man rather than the glory and fall, but even so, it does not have the great dynamics of similar biopics where we witness the fame and power of a personality and how it collapses in a drastic manner. But it was so down on everything, confusing with its countless ramblings of a man suffering the effects of syphillis, getting older and crazier by the minute, that it's hard to set apart what's real and what's fabricated.

And not even Tom Hardy in the title role saved this film, though there are so nice touches in his thankless performance that makes it slightly enduring. Buried under a heavy makeup and a large stomach, Hardy succeeds a little with the transformation that at times, on constant pains and harsh symptoms of countless diseases, feels like he's about to turn into a vampire due to bloodshot eyes brightened by his pale face. He truly shows a physical decline, knows how to work with the detailed obstacles as a suffering man who can barely speaks, but he's not given a substantial material to work with. It's one of those unusual performances that it's hard to define greatness or failure.

"Capone" could only succeed as an effective film if following the same designs of biopics such as "The Iron Lady" and "Citizen Cohn" whose main characters go back and forth between their final sick days and what made them remarkable to the public. The flashback device was terribly used since it's all shown through the disorientation of a disease, instead of a vivid rememberance where he dominated the crime scene of Chicago during the Prohibition days. Besides all the difficulties he brings to everyone around him, there's also the FBI bugging his phone while trying to uncover the disappearance of millions of dollars; a distant young son who keeps calling him for no reason; and the ghost-like appearances from Matt Dillon's character being the man's only interesting interactions yet also confusing.

A tedious presentation of everything and not a single scene was worth remembering or worth seeing, unless you like to see tough guys becoming vulnerable and weak as they dirty their pants and talk incomplete sentences. Also one of the worst uses of sound and music, impossible to hear anything.

A painfully exhausting experience that won't reveal anything about the boss of bosses, and as much De Niro's portrayal of Capone in "The Untouchables" and that film take many liberties with actual facts, at least it gave us something worth seeing and worth researching about how that figure become one of the most well-known criminals of all time. 2/10.

A decent and enjoyable whodunit that has its attractive features (the cast, mostly), but it only works if you're not much demanding on the plot and some of its loose ends. I liked it, as there was a fair share of laughs and the mystery was quite involving, but it's one of those things I had to lower my expectations for a little while. If looking for a "Knives Out" kind of experience, better look elsewhere. "Reunion" is more about the awkward humor that comes in a high school friends reunion than it is actually about solving a murder case on an isolated mansion. But the detective story is there in between a series of confusions, attempts of rekindling with old crushes and letting past high school traumas come to surface.

It's hard to go wrong with those kind of films but when the intelligence is a little limited or the excess of cliches and characters stereotypes take over, it can be a problem. The moments at the party were a little annoying and most of the characters fun looked fake, abruptly cut here and there as if the director didn't know what he was trying to show. But when the crime happens and they all begin to investigate, it gets better and fun to watch.

"Reunion" hits a different and positive note as we don't have an outside detective looking for clues, but instead all the characters try to find who killed the host and the reasonings for it. Not exactly a jawdropping mystery but it's amusing anyway.

Its quality lies on the cast, all comfortable in their roles, specially the shy cop played by Billy Magnussen, and Jillian Bell as the least likely person to attend such party, as she was never part of the gang since she was a bully victim. Her creepy character is hilarious and steals the show. Didn't exactly like the loudmouth Ray (Lil Rel Howery), super annoying for the most part and only having his moments of triumph on the bathroom scene and at the end. He just tries too hard to be funny.

If the idea is to kill some time with some laughs and go for a detective mode while trying to solve the case before anybody, "Reunion" serves well exactly for such purposes and nothing more. 6/10.

The most divisive film of the year with a great ammount of supporters and haters since the original 1989 "Road House" is a cult classic that also had some mixed vibes when it was released. They're both very good and fun to watch, but it's a little obvious why this new version feels lacking simply because products of their generation win and lose aspects or excitment. It's so divisive that one website had on its main page a bashing of the film, qualifying that it brings everything that was bad with 80's cinema yet there was another post about its popularity with the crowd. Won't say it was a necessary remake but it's the kind of entertainment needed and Doug Liman ended doing a fine job with almost everything. Action, thrills, some drama and romance are well combined in this explosive, funny and a little reflective film.

Jake Gyllenhaal stars as Dalton, an ex-UFC fighter who moves down to Florida where he takes a job as a bouncer for a problematic roadhouse and its aggressive bully costumers. Obvious that those troublemakers are regulars not for the drinks and the music, but their idea is to torment its owner (Jessica Williams) so she can sell the place to wealthy folks. Dalton is worth the money as he's the only one who manage to break things apart, much to the despair of the rich man's son (Billy Magnussen) and his thugs who'll bring more danger and violence to anyone opposed to their plans. Like the version starred by Patrick Swayze, Dalton is a man that doesn't really want to make use of violence to stop the savageness of those bikers as he has a traumatic incident from his past. Yet he's great at throwing kicks and punches, like the typical heroic figure of such movies.

By itself, this "Road House" was lots of fun, highly entertaining and exciting. It's easy to please and doesn't take itself so seriously - though it can be a problem to some. Gyllenhaal is always great to watch, specially his humored interactions. A super cool movie and that's saying a lot these days.

Another fun reason is the wildly crazed problem solver played by fighter Conor McGregor (in his film debut). His twisted character is a fierce opponent to Jake, as he's faster, mindless and enjoys hurting people and goes through such a series of unbelievable injuries and situations as if he could not get killed. And it's such an hysterical over-the-top performance that manages to be enjoyable, rewarding viewers with great laughter each scene he's in. He's destine to get a Razzie nomination (just hope he can accept it gracefully).

However, it doesn't go out without problems and a comparison with the 1989 is necessary. The 1989 version is superior as it treats things in a more serious and relevant manner, even with a sense of humor. It works as a good drama since Swayze's Dalton always ponders about the use of violence, uses of dialogue to mediate things for a long time before turning into defense mood, as opposed to Gyllenhaal's Dalton who throws punches from the get-go.

It wasn't just about being the cool action film, it had more values to reflect and to be considered, and the whole major conflicts felt as a real story, as opposed to the absurdity of this one.

But what hurts the most is the fighting sequences, with a majority of them made through the use of special effects and editing giving the appearance of being wildly inventive as they go for a long time, as if being uncut. Yet it looked painfully fake, you can spot the trick very easily as it does not look that you're seeing faces getting punched, bodies getting hit, which makes the stunt doubles being disposable. If CGI fight like the ones shown here is the future of cinema than we're doomed. Old style editing is still something we hope for.

Despite the mentioned problems and the lackluster romance of Dalton with a nurse (Daniella Melchior), I still had a great time watching this "Road House", and even looked back to the old one which celebrated its 35th anniversary. A little escapism doesn't hurt anyone, specially when it's well done. 9/10.

This flew over my radar when it was released and a highly unusual TV trailer got me hooked to see it. That trailer was a disaster of epic proportions as it advertised "A Simple Favor" as a real suspense without adding the comedy element, or telling about it. Either way, the mix of genres was a mess, very annoying from the very first minutes with those "perfect" characters, slightly getting better when the mystery sets in.

And that's when red flags come along as this is basically a poor man's "Gone Girl" with more focus on cheap laughs and cheap thrills.

It's a little enjoyable because of the outrageous character played by Blake Lively and her insanely hilarious lines (the repetitive incest line is hysterical whenever used); her perfect yet also mysterious husband (Henry Golding) was fun to watch, and a couple of the thrills the woman's disappearance becomes as her new-only best friend (Anna Kendrick) decides to investigate after providing the small favor of the title.

Kendrick's character - and the movie - was painfully annoying, trying to please everybody but always getting some nasty response from the crowd around her (some deserving, others so crazy and ridiculous as if everybody's was inside of a bad sitcom). And it's a total mystery on why she wore that ugly scarf while attending Lively's job at a fashion magazine or whatever, much to the displease of Rupert Friend's character.

I'm all against remarks on people's outfits, but she totally deserved his sassy backlash, she could know better before going there.

If being played out as a dramatic thriller I'd certainly be more involved with everything. The switch between laughs and crimes was such a turn-off that I paused for a long time just to catch my breath, as how dull and chaotic this was. As for Paul Feig being the director of this, must say I enjoyed the female "Ghostbusters" rebbot a lot more than this. 5/10.

"Against All Odds" is a thrilling, sexy and romantic neo-noir thriller film with all the required elements for a great films. It's also an engrossing story for those with eyes, time and patience to see, and I must say, it failed with me on a first view. Only two things might get in the way for its viewers: it's a deep story focused on character development to connects its complex web of mystery, lies, love and murder, and it demands full attention from viewers to follow its numerous characters and their dialogues; and the other thing is that it's a remake from a classic film noir, the incredible "Out of the Past" and it's almost impossible to beat that film. To the latter situation is not much of a problem since it's not an exact remake, but instead it's a rework of its foundations with different situations that couldn't be explored in the 1940's. Two different movies but they work well on their own, not needing one another for comprehension.

It's about an incendiary love triangle formed by two best friends and a beautiful woman. However, it moves a lot different than the typical cliche from those settings. It expands beyond love and passion as they're all simply trying to find better ways to live their lives, and a series of incidents brings them together, sets them apart but you can sense a full collision ahead, unlike the famous car race featured early in the film.

Football star Terry Brogan (Jeff Bridges) is somewhat rescued from a terrible situation with his team and its managers (Richard Widmark and Jane Greer), when his best pal Jake (James Woods) offers him money to track down his girlfriend (Rachel Ward) who ran away from him. Something's fishy but he goes to Mexico anyway. After all, it looks an easy job and he needs the money since he's not getting younger and his football days might be over after suffering an injury. He finds the girl, the beautiful Jessie, and after some initial rebuffal, they fall in love in the idylliac Cozumel beaches and old pyramids. Sensuality at its greatest in those moments, true passionate heat and everything looks and feels like paradise.

But paradise can't last forever and decisions must be made. It hurts that they have to go back, and by then they already knew so much from each other, their past and what brought them to such encounter, that audiences root for them very easily. They're perfect for each other as they know that together they can save themselves from whatever was hurting them up to that point. What gets in the way is Jake and whoever come their way, and it doesn't take long before a familiar face on Terry's life finds them, tragedy ensues and the plot thickens.

Taylor Hackford's film is fully charged of mystery, twists and turns but it's not completely concerned in keeping up with action and that's why it's not much popular among audiences. The countless sub-plots revolving Terry's troubled professional life, Jessie's family, Jake's shady business, and a potential disastrous real estate development, is destined to confuse viewers as it's not told in an ordered film-noir tradition.

But the script connects it all without looking ludicrous or unbelievable. And when the action/suspense bits come along, you're fully invested in knowing more and solve the charade. "Against All Odds" is more about a doomed love affair and how hearts, lovers and friends can be broken rather than thrills and body count.

The cast is in complete tune with each other and their roles: Bridges as the conflicted vulnerable hero; Woods is quite restrained and charms audiences in not being that kind of bad guy he usually plays (he's almost likeable, very humored). But the film depends a lot on Rachel Ward and audiences embracing her mystery and trusting that only someone like her could spilt two best friends. This is not a case of a typical beautiful femme fatale seducing with just her looks. It's all about what she challenges on both men, how she reveals her past, the changes she went through at each certain situation of which we don't see but must imagine. Ward was amazing on those moments.

It was a great revisit to this almost forgotten film and now I can truly consider a classic from the 1980's. Hackford got everything right, even when it feels dragging on a little. But one thing was truly great on both occasions: the unforgettable theme song by Phil Collins, one of the greatest cinematic songs ever composed - just a pity he lost the Oscar in that highly competitive year. And it's one of those tunes everybody knows but they never seen this picture. In time they'll get to see it, or come back to it like I did. 10/10.

"Nobody Belongs to Anyone" deals with the themes of obsession, jealousy, the feeling of possession and how those issues can interfere in a marriage, and how causes of the spiritual world and past lives have a part on the earthly plan. Adapted from Zíbia Gasparetto's novel, the film follows the precepts of the Spiritism and their views on the matters of life and death, that ultimately is generating a series of good films on the topic, attracting believers and non-believers. Gladly, it was a decent result with some cliche problems, specially when it comes to similar themed films and series. It doesn't escape from sentimentality, but it serves enlightning purposes that audiences can reflect upon.

Two couples are tangled in a web of lies, deceit and jealousy that affect their relationship, creating a series of suspicious and danger. Lawyer Gabriela (Carol Castro) is married to contractor Roberto (Danton Mello), a man with trusting issues who controls his wife in a terrible manner; and when her boss Renato (Rocco Pitanga) promotes her to a partnership position in the lawyer firm things take a wild turn as Roberto believes she's having an affair with him, a sentiment echoed by Renato's wife Gioconda (Paloma Bernardi), an even more possessive figure than Gabriela's husband. From that, the suspicious spouses make their plans to separate a couple that doesn't exist, creating hell on their professional and personal lives. False accusations, rumour spreading and even marital abuse is part of the game, to which Gabriela and Renato don't know how to react.

Like many projects on the topic, it basically tells us that the serious and complicated relationships we have come from a past live, a different and unknown source to us that might be revealed to us someday. There's suffering until correction of past mistakes come along, living and learning. Soap opera "A Viagem" greatly dealt with that, and most recently "Nada É por Acaso" film as well. It's up to audiences to embrace the karma-like idea, or reject it. My little skepticism comes from the usual idea of seeing the previous life situation as being 19th century, as if there's a communication link of 100 years or so, not beyond.

Won't say I was fully involved with it because the cliches and repetition of events were a little too much at times. But there's plenty of qualities that made it a rewarding experience such as the visual effects during transitional events after tragedy sets in (we are easily reminded of "Ghost" in those moments); Danton Mello's surprisingly great performance as the possessive husband, a very hateful character; and Rocco is always enjoyable to watch. I couldn't buy Carol Castro as a lawyer (that hairdo, really), and Paloma was a little over-the-top as the bossy wife, but both hit some good notes in the more serious moments. Stepan Nercessian's cameo as a private detective brings a little humor to the tense scenario.

Outside of the afterlife department, it's a film that serves a purpose for people analyze their relationships, to be open and honest about what they want from it all, and what's to avoid when it comes to feelings of jealousy and possession. To reminds us that the "belonging" to one another is a temporary thing, and if you love somebody set them free. 7/10.

"Up the Sandbox" could be a bigger classic if it had a better development of its ideas while telling the near-crazed ramblings of a neurotic housewife (Barbra Streisand) who has an emotional breakdown that shelters her from reality, shifting from delusional grandiosity to the real chaos of dealing with husband (David Selby), kids, a dominating mother (Jane Hoffman), and helpless friends. Irvin Kershner's film doesn't have a fine balance between comedy and drama, and we depend so much on an unreliable and frustrated lead character that there are times it's difficult to know what exactly does she want from life and relationships, what's real and what's not. I'd like to imagine what Woody Allen would turn if having the chance to direct this material (pity he only deals with his own material).

It's not a total mess since there are noble messages intertwined through it all, and there are moments of true brilliance (the exchange between Barbra and her husband's lover was hilarious as both women accept the fact of one another), wild mayhem (Fidel Castro becoming a female with a world domination where women rule the world), and pure outrageous fun (her parents anniversary being ruined because she refused to give the only thing her mother wanted in order to be truly happy).

If the lady's wildest dreams are fun to watch despite some nightmarish bits, the reality of it all is unappealing and nothing gets solved.

The film's idea seems to defend that once a woman gets married her dreams and wishes are inexistent as she needs to accomodate her family before herself, and to fight such notion are pointless and selfish acts. Her only comfort comes from dreams where she rejects the possibility of having a third kid, or finding solutions to improve the female cause, or commit a random terrorist attack on the Statue of Liberty. We keep waiting, with anxious hopes, that one day she'll wake up and finally act, do something different. But at the end of it all, there's no pay-off to her situation and it's frustrating - sure it can be said it was a realistic portrayal of its period and that audiences of then should know how to change such scenario.

By itself, I tried to like it but couldn't. If comparing a key scenario, the theme was better presented in "Diary of a Mad Housewife" (to Kerhsner's film disadvantage, I saw the other film a few days earlier and it stayed in my head). A few points from that film: worst husband, worst kids and the woman's little relief was having an affair with a careless chauvinist lover. Here, Barbra's dream of another man in her life comes with the presence of a charming university teacher and even that slight chance of affair is ruined because his date invitation for both was attending the Castro political meeting where she cried against his revolution. Had not seen "Diary of..." it might impact less the difficulties I had with this one, and it'd become something manageable.

Fine performances all around, but nothing so outstanding that requires new viewers to it. You won't be missing much, except for the really funny sequences. 5/10.

A vaguely interesting making of from the documentary directed by Errol Morris on manufacturer/history revisionist Fred A. Leuchter, Jr., the piece presents great interviews with Mr. Morris, a producer, production designer and a historian related with how they worked on the film, the fascination they had with the controversial main character; and also some bits from behind the scenes (basically the filming on Auschwitz camp and also the bizarre Tesla-like machine that opens the film with Leuchter sitting on top of it).

It's all very brief but nonetheless curious to watch as Mr. Morris and the producer discuss about the reasoning for the re-enactments throughout "Mr. Death" and how such device serves a purpose, and it's something completely different than the filming of a Hollywood film. Doesn't favor much the director on some competitive awards as it brings fictional elements to it, but he knows all about that (the amazing "The Thin Blue Line" was not even considered for the Oscars because of that and their rules). But when you see "Dr. Death" it's a unique experience that you barely notice the re-enactments, it feels as if you're seeing Leuchter collecting materials on Auschwitz (besides his real tapes) or similar.

Essentially it's about talking the ideas of its making, rather than deep analysis from the film (not needed as the thought-provoking topics it brings are all debated in the film and audiences can make up their own minds with that).

A seductive clip revolving on the special connection formed by two perfect strangers (singer Alyssa Miller and male model Ash Stymest) who share a strange but comforting proximity despite being apart on different rooms from a same desert motel at night.

Yes, the mystery of it all that starts out when they look at each other, as she passes by his lonely figure, a great sense of curiosity of both parts but the true connection is formed when they hear each other from the other room, they dance on a same rhythm until they finally get together.

The song is a little out of my depth and taste but it was a nice fit to the atmosphere played along, quiet and sexy and it worked in a memorable manner. And here's another great proof that a music video can be sexy and intimate without appealing to a sexual act; it's all about some closeness, the dance and the rhythm. 7/10.

"Bad Love" helped Eric Clapton to get out of some obscurity in the 1980's (not exactly a lost decade but close to it, and fans know it). The same team that helped him with his "August" album in 1986, supported him in the 1990 tour and they all appear in this video (bass player Nathan East, keyboard player Greg Philiinghanes, and Phil Collins on the drums and backing vocals). A great band for Clapton, and I prefer them rather than the huge ensembles he formed since then).

A heartfelt kiss of goodbye to bad relationships that didn't add up to anything is carried with Clapton's voice in a strong manner, with Collins following along in the background. It's emotions at his best, when knowing its time to move on with life. The black-and-white cinematography makes the group a little obscure for a great portion of it all, but it forms a great visual to them - except for Clapton's unusual prominent moustache.

Memorable because of its great song. 9/10.

Dionne Warwick and friends Elton John, Gladys Knight and Stevie Wonder joined forces to perform a lovely ballad whose proceedings were donated for the cause of AIDS and its research for a cure, back in those tragic days of the epidemic. Excellent noble gesture as it was one of the first times (if not the very first) that artists were pledging for the AIDS cause, attracted a lot of media attention and the presence of other celebrities, and many foundations were created for the cause (Elton made his one in 1990). And to think that if discrimination on AIDS victims was rampant and that someone didn't care who they were, the artists made their point by showing that there's also those who care and will find ways to help you out. And that's what are friends are for.

The curious bit about this particular song, composed by Burt Bacharach and Carole Bayer Singer, is that is a cover and far more known than the original version performed by Rod Stewart, used in the closing credits of the comedy "Night Shift". Four magnificent voices, new arrangements (that fit mostly with what Dionne and Stevie were doing in that decade), and a classic was made. They look happy, cheerful and transmit those good feelings in a spectacular and memorable manner - "USA for Africa: We Are the World" goes that route too, but hearing about some of its behind the scenes stories just make things look a little phony (but I like it just as much, both for its song and intentions).

If I'm not mistaken, the song spawned other versions and also used for charities, but I don't think they found that quality performers as those in here. Still glad that it's still be used for good causes. More than that, it's the kind of special song you pay tribute to someone you like. It's in such positive vibes that for the moment you hear it, nothing goes wrong. Always good to hear it. 10/10.

And the ad is finally out, a year later from the countless behind the scenes (leaked and official) pics of Timothée Chalamet and Martin Scorsese working on the long awaited Chanel ad, as Timmy was chosen as the new ambassador for the brand. It's so strange to say that a commerical was awaited but in fact a large gathering of people was waiting to see the final result of such amazing encounter of Hollywood names working together on screen (pity is not a feature film, but hopefully they'll might find time to work again).

Back in December, there was a leak of the short but no word from anyone if that was the real deal. Now that is out I can only attest how magical and brilliant everything was, and again, it was worth waiting.

Here we follow the concept of a busy day in the life of a famous celebrity (Chalamet) from the moment he wakes up on his New York condo, later on dealing with showbiz people, and late night hosts to promote his new project. But in the rush of everything there's always the sensation of something missing in his life, but he is helped by a mysterious female figure (Havana Rose Liu), representing the fragance, the non conquered dream and the only color amidst the monochrome of everything. He doesn't know what it is, but he's easily seduced by the mystery and goes after it.

It's not necessarily a ground-breaking idea since many brands from countless fields try to do such schemes, sometimes succeeding, others times not so much. This one goes beyond anything, lately, as we have a master in control of everything and not a single second was wasted. Not only Scorsese is a phenomenal filmmaker but also has contributed a lot with advertising campaigns, even directing another face of the brand, the late Gaspard Ulliel. Rhythm, style, the frantic velocity of his cameras, editing and effects capturing the rush of the city he and Chalamet lives, the soundtrack (awesome way to bring back Herbie Hancock's "Rockit" to a new generation), it all impacts you in such a manner that you forget everything. The attention devoted is on the ad and everything about it.

And obviously that Chanel couldn't have picked a better presence to their fragrance than Timothée, not just the physicality he brings but also the acting, the humor (very brief bits shown) and how he knows how to make fun of himself or make fun on celebrity culture (just see his ads for Apple, they're hilarious). And seeing once was not enough, head was spinning for a while. Thumbs way up for this one, anxiety issues fixed except for when they're gonna make another one of those, or a film together. 10/10.

The fascinating glamour of the world of fashion and all that millions of dollars can buy brings together Penélope Cruz and Brad Pitt as stars of this new season of Chanel that pays tribute to Claude Lelouch's classic "Un Homme et Une Femme" ("A Man and a Woman"), the 1966 Oscar winning film. It doesn't hit the same ideas or shot compositions from the film but it gets close to its atmosphere of a loving couple having a special time together (here, Pitt and Cruz are having dinner on a fancy restaurant, but their talks gets interrupted by a female waiter).

The brand becomes far behind here as the stars are what captures the audiences attention, their looks, their presence and their exchanges. Greatly filmed and edited too. I liked this one but it didn't stay in my head afterwards, not even brought back the memories of a classic film I love - but it certainly found a way to bring new audiences for it. I like to think that. 9/10.

Only got word of this video as it was listed as one of model Ash Stymest credits, and sadly he's barely there. Here's a complete waste of anything, really, but specially of his looks and presence. Not his fault, obviously. But I wonder what was he doing there in the "story"? Marlhy plays a young woman wearing a Wonder Woman outfit while cleaning up her kitchen and singing about the farewell's one gives after living a bad relationship. Ash appears for a couple of seconds, ridiculously brief shots where it's hard to tell if he's the ex-boyfriend or the garbage man who came to pick up the trash. Boring!

I don't know who's the singer and couldn't possibly care less about the song, that has some good bites with the lyrics but it's hardly something I'd listen. If developing a career on the field, some notes she should've learn while making a music video (if I'm not mistaken the idea of it all was hers as well). The notes, tips: when hiring a model, famous or not, give him something to do or also something you'd like to imagine doing with him: seduction, dancing, acting bits, and also some proper time of appearance. Don't need exactly to "perform" sexual acts but find ways to tease the audience, seduce and destroy. Look what Madonna and Brittany conquered with their male models - ok, different level of star power since they revealed their men to the world rather than having someone already established in the fashion scene. But still. Poor dude was non existent and it's a shame, as the other videos he'd appeared he was better used.

But the girl looks pretty fine in her costume. I get the idea of it all, the power withing herself in others after a series of dull affairs or lame relationships. It serves the song's purpose. The presentation of it all looked cheaper than a B movie. 4/10.

This one doesn't offer much except for the song, which is one of Roxy's best but it's the single edit rather than the disco version (nearly 7 minutes of pure ecstasy).

Music video in its infancy so it's basically a capture of Bryan Ferry and group performing "Angel Eyes" along with two female harp players appearing to be angels, wearing outfits that give the appearance of being undressed.

Bright colors, vivid and expressive moments, the several zoom-in's on the band members at specific parts, Ferry dominating the scene, it all contributes to the enjoyment of their act, all greatly edited. Had it been made in the 1980's music video fever it'd probably include lots of female models to reflect the general picture of the song, idea that could work better or don't. 8/10.

The unique approach used for this music video and the single used as background is amazing, intriguing and way ahead of its time when it comes to discussing issues that were only perceived and faced by one group: women. "Beautiful Girl" by INXS tells us one story of a runaway girl who finds some comfort with a perfect stranger (many might see other things on that lyrics); its images reflected on that video is something else.

A full discourse on the pressures and challenges faced by young girls and women in order to present themselves as beautiful, shown through several words popping out on the screen (descriptions, qualities, good and bad things), and images from women either close-up shots of their faces, others eating junk food, and a fashion show at the end that goes in a dark, critical manner. The group appears in a very reduced manner, through little colorful effects and editing tricks that makes them very obscure on scene.

The clip certainly serves a debate on the outside issues and the inner issues women (and men too) face while presenting the image of themselves, the choices made between being personally satisfied with such image or just attending society's perception of what's beautiful or not, to stay healthy or just consume what one wants, or the sacrifices in between, as we're bombared by media ideals of perfection. One choice and one renounce, that's life says a song, and a balance while trying the best of both worlds feels like an impossible goal to achieve.

But it also views a colorful and hopeful embrace of positivity, self-acceptance, and that the real version of you is acceptable, interesting and worthy. It feels that way when all the women are united after the fashion show. Obviously that today we'd have a more variety of body sizes, ethnicities, but the little showed there finds its way to spread its intent that they're all beautiful to someone's eye. The "stay with me" phrasing from Michael Hutchence and his voice brings that closeness and acceptance, even though the lyrics tell a different story. And do I need to tell that this is one of my favorite INXS songs? Well, I just love it. 9/10.

A simple and cute view on forming significant relationships during the Covid pandemic. It's the encounter of a young intern (Daniel Rangel) with a female student (Heslaine Vieira) before the "new normal" sets in, but he tries to find her during the social isolation period, despite not knowing her name.

"Tudo Bem" touched with relevance the ideas of how lost and confused social connections were during the period, many online meetings, people trying to find what to do to keep themselves busy or entertained, but also missing gestures, touches, close talks rather than the already and exclusive internet interactions. Would there still be a world after the disease and many deaths? Would we find some meaningful relationships during or after everything? Those kind of notions many have felt at the time, and the film was made and release during the peak of everything, it's not a mere retelling of the early 2020's.

Main couple has some fine chemistry, some nice conversations - specially their very first meeting discussing the films they seen. But the presentation of it all makes it a quite confusing piece with a late flashback (which answers the random initial encounter), and the otburst from the girl, while relevant to the narrative, doesn't convince even if done with a particular strange person that you have a small intimacy. It felt aggressive and a total turn off (if there's people who try to attract a special someone, and goes with such mode, and have no problem with that, I wonder how they succeed).

It's a honest piece, greatly made though it's not something I'd watch again so soon as the memories of that slowed period still linger on in a tragic manner. Yet it's final message addressed at the end about how valid is okay to not be okay, among other feelings many of us felt at the time, are of great value. 6/10.

"Hold Me" gives us Fleetwood Mac playing explorers on the Mojave Desert, California, either trying to find treasures or find themselves as they deal with some mirage-like effects told in a very artistic manner through shattered mirrors, guitars on the sand, and a tribute to Rene Magritte's famous man in the bowler hat. And obvious that Lindsey Buckingham and Christine McVie perform the song in a series of close-up shots.

It's all surreal, mysterious and fun to watch. The idea of the art elements, always seen through the distance, works with the notion of such characters (band members) trying to hold whatever they're seeing but they know they can't as it's all a mirage (though it's not played in the typical Hollywood fashion, it's more like a collage of elements where you can use such idea of a fata morgana). And the song that goes with it it's one of their greatest musical moments, pretty close to their "Rumours" days, great quality and style. 9/10.