Reviews

The classic inspired by Romeo and Juliet that is added urbanization, gangs, songs and dances. A love story between two members of two enemy camps, among this is a criticism of the United States, street life, the situation of Latinos in American territory, among other things. It is directed by the duet made up of Jerome Robbins and Robert Wise, in the cast is Natalie Wood as the main, supported by Rita Moreno, Russ Tamblyn, Richard Beymer and George Chakiris.

I really like musicals and this classic is no exception.

The musical numbers cut through with tremendous choreographies used and songs with distinctive and humorous voices. The performances are a capable melodramatic touch especially Natalie Wood and the handsome Richard Beymer, where their love is passionate on an incoherent level. Rita Moreno and Russ Tamblyn steal the musical numbers with virtuosity and unique presences. George Chakiris looks great too at times.

Contextualizing myself in the 60's this is groundbreaking and innovative. But watching it today is very theatrical, dense and slow so if the remake is well done it can introduce this pretentious work to new generations. This film swept taking 10 Oscars awards from 11 nominations, among them: "Best Picture", "Best Director" to the duo, "Best Supporting Actress" to Rita Moreno and "Best Supporting Actor" to George Chakiris which is not bad but for me this award should have been given to Russ Tamblyn who put the JETS musical numbers up there.

I have great affection for this series and this reunion was necessary and beautiful for me. It has a lot of nostalgia and I think that over the years he highlights the intention of the show, corroborating people from different countries telling their experience growing with it.

Capable a bit superficial, but I think it's a way to close that "pending" meeting that we all wanted, that the previous one did not fulfill at all. The most beautiful moments were of the 6 members of the cast talking about their experiences both during the series and after it ended, watching episodes again, etc.

Thank you Lisa Kudrow, Jennifer Aniston, David Schwimmer, Matthew Perry, Matt LeBlanc and Courtney Cox for the 10 years that they left a legacy and reliving them.

The long-awaited film that focuses on the life of Cruella, one of Disney's most iconic villains that comes out of "101 Dalmatians". Directed by Craig Gillespie, played by Emma Stone and supported by Emma Thompson.

Beyond the expectations of what was previously sold, putting them aside it is an enjoyable and fresh movie.

Being objective and valuing the work done, I feel that if Disney had not made its mark, I think that something deeper would have been reached. I know this has nothing to do with "Joker" but to put it as a vague example, this villain could have left more than just superficially emotional and empowering scenes with distinctive outfits. I miss a Cruella taken by that confusion and madness, really passionate about design and ambitious for the desire for success on it. Not that I wanted to see something dark, but they raised some idea that it was going to be like this. There are even scenes where the film becomes dark and interesting like the one with the house fire or the talks to herself of the main one taken by some emotion, but then they were ruined by action scenes or sentimental scenes that were not necessary. It ended up being one more film of a sentimental and literal justification of why it is a villain instead of showing something more interesting and passionate than the character proposed. And yes, really if she had at least interested in killing dogs for their skins or at least for her revenge, there would have been a more coherent quote for the character of Cruella.

Emma Stone is very well, clear in her alter egos beyond that her interpretation could have been a FIRE accompanied by a darker adaptation for my taste. Emma Thompson really does see herself as a real antagonist displaying a specific personality and reason that always kept her with a presence as only she could have. Paul Walter Hauster and his dog were among the best of the cast, he generated grace and closeness with his character so affectionate and crazy at the same time. I highlight the production in general, the costume designs that were used accompanied by the sets and shots that made that particular style shine even more.

The emergence of the Disney classic is beautiful and entertaining to watch. The animation is something that positively surprises, everything looks natural and a great job from behind. The way the story is set up, it seems that the creator smoked a lot of marijuana but anyway that psychedelic world in which the characters find themselves works. The concept of the lie I did not see much but it appears. Figaro is the best character, always giving grace and tenderness.

Winner of two Oscars: "Best Score" and "Best Original Song" with which it opens the film "When You Wish Upon a Star".

An American reporter is in charge of getting real news about the situation of the world war in Europe, once installed he finds a tense and uncertain environment when he discovers that an ally of those who was in charge of sustaining the situation without war was actually just a facade.

Directed by Alfred Hitchcock, for me much better than "Rebecca", wich got all the recognition when it came out the same year. It has that dark thriller energy but at the same time it is coherent and literal, at no time is it forced and in no scene is there filler. The appearance of each character is justified and it is understood, the only character that seemed an accessory to me was Laraine Day. The imprint of the director is recognized, all the shots have a dark, cold and solemn energy, one of my favorites is that of the attack on the plane and when 'Van Meer' looks at his hijackers, a tremendous image. This film was nod to 6 Oscars including "Best Picture" and "Best Original Story", the latter having to win by far over "The Great McGinty".

Performances that are not impressive but are well sustained and are greatly helped by the script. Joel McCrea is simple and gullible while Laraine Day became stupidly conventional to me where her role during the course did not contribute anything and was extremely annoying, the ending made her look a little better but she was not a character that worked much with the proposal.

Albert Bassermann is nominated for 'Best Supporting Actor' with that man of conviction, who up to the moment of confusion held him, sensitive and simple.

Gregory La Cava directs the story of a girl who faces social condemnation for her mother and grandmother's work, hiding it when she meets her fiancé but as the saying goes, lies have short legs. I found the film entertaining and engaging, there are certain details that are forgotten and there are abrupt middle jumps in the story but in general it is beautiful.

Ginger Rogers is phenomenal, brings freshness and evolves into a more acid and realistic woman. Joel McCrea is nice. In the cast we find Marjorie Rambeau with a character who carries a narrative very well and an important role, she obtains nod for 'Best Supporting Actress'. Also Queenie Vassar and Joan Carroll are doing great, with grace, whimsy and a moody energy. All the characters are very good, they stand out even in small roles like Henry Travers who always had the right words for each moment.

A crime drama directed by Rian Johnson that is about a detective who searches for the culprit of the mysterious death of a millionaire writer after his birthday night with those close to him. The diversity of people plus the dynamism of the script makes the film always propose something new and the funny thing is that when something seems to have closed, something new is discovered that gives a new twist to the story. No leads from the investigation were left unfinished, and I highlight this because it doesn't always happen. I would have liked a little more to play with the variety of characters and their dramas, but in any case it is a personal taste.

A very good cast, certain characters seem to be wasted but I understand it. Ana de Armas is very well leading the film with a certain presence, Toni Collette always brilliant and enters her roles in a unique way. Daniel Craig has a mysterious and humorous touch that graduates him satisfactorily.

Able I expected something different but this was not to my total liking, without a doubt it is more striking than its predecessor, Blanc, but it still did not seem interesting to me, and that is what annoys me the most. I recognize all the technical tools as very well used but the core that unites them did not reach me at all. I had to force myself to pay attention and that speaks volumes about what my experience was like. Music remains essential creating atmospheres, simple performances, a clear direction, a very present and significant symbolism of the color Red but a not very dynamic script accompanied by a flat story.

Without a doubt my favorite is: "Blue" by far, in addition to the fact that i managed to take things with me when I saw it, I found it hypnotizing at times, something that I did not perceive in the other two. Undoubtedly it is a personal trilogy by the director and beyond that it was not to my liking, I think they are one of those films that mature over time and you can get things out of it by watching them after a time and a different mood than this one.

Uff, a movie that bored me TOO MUCH. I do not find anything poetic or symbolic as in "Blue", it is not understood because it is so slow, the meticulous and detailed is lost and becomes frighteningly monotonous. I am easy to entertain and it is not difficult for me to travel in meanings but this one did not wake me up at all, a meh script.

The directive decisions were good, as were the performances and the best thing: the music. It lacks appeal and dynamism.

Chaplin's tragicomic film that became a classic for parodying the Nazi leader: Hitler, during the Second World War. It has a direct and explicit message of criticism and denunciation, it makes me brave whoever has taken this type of material in the middle of a war context where nothing was certain. It made me a bit long and at times capable a bit monotonous but the humor and how it handles the plot giving it sour and sweet flavors at the same time, keeps you following the thread.

Chaplin and his final speech is what crowns not only the theme of the film itself, but also himself as an actor, the way he increases his voice, and his gestures until he is completely carried away by that euphoria really projects not only a political speech but a politician himself. Paulette Goddard is enthusiastic, a character who in her weakness shows a lot of strength, the end made it her own.

I am surprised that this film did not sweep the Oscars because of the courage and conviction of the creator. Nominated for 5 Oscars, among them "Best Picture", "Best Actor" for Chaplin and "Best Supporting Actor" for Jack Oakie, which I accompanied acceptably.

Undoubtedly, it is one of those films that when you see it again, new things are taken out of it and you can even appreciate more. I would define it as deep, symbolic, emotional, detailed and extremely meticulous that this can be what a popular taste can make it difficult to see it. There were things that I did not understand much but I cannot say that it is not a unique and well done piece, a beautiful photograph accompanied by a good direction. It is not my type of film but without a doubt it has something special in its mysticity and how it is executed that makes you take things when you see it.

Juliette Binoche is very purist in her role, she looks naked in every emotion and sensation she feels.

It was a film that attracted my attention because of the plot: a lively and liar man becomes governor of a state through corruption, and in this position he reconsiders wanting to do good and betray the corrupt of whom he was part . It's interesting but I end up having a very hasty and unclear development. The script is not bad in itself, it just lacked more time for things to fall and look naturally, this affected even the actors in developing their roles.

Brian Donlevy and Mauriel Angulus are doing great anyway, they did what they could with the big leaps their characters had in the story.

This film was Preston Sturges' debut feature and won at the 1941 Oscars for "Best Original Story." Hard to believe that it beat the Chaplin's majestic work "The Great Dictator".

It is a story of a special bond that few have known as Bette Davis tells Charles Boyer in one scene. Of those films you can see that the direction had a fresh air and not so recognized, I am referring to the Ukrainian director Anatole Livtak, who had his heyday in the 40's.

It can be long and capable, things happen slowly but it became a necessary and attractive resource for me. I really like that it has not fallen into the hyper romanticization between the main characters, their love scenes are transmitted from the moments and feelings they share, such as love for their children and the time they share with them, instead of resorting to the typical love affair. The bond was well built for me.

The beautiful performances. As I watch movies going through the time line of those times, each year that I advance, the evolution that Bette has as an actress is gigantic. Here she is seen with a presence, security and sweetness filling from the gray moments to the minute love scenes with Charles Boyer. He achievement stands out for being out of the ordinary, superb in a repressed, lonely and passionate character. Both were performances that should have earned them a nod to the Oscars, in Davis's case I didn't see 'The Letter' for which she was nominated but she has set my bar high for when I see it. Going to the cast, Barbara O'Neil becomes a dark and evil woman where every scene she has makes it very clear.

Film nominated for 3 Oscars in 1941: 'Best Picture', 'Best Supporting Actress' for O'Neil and 'Best Cinematography'.

The first work I see by Garso Kanin, he directs this film that goes from a comedy tone to a gray love drama. It stars Charles Laughton and Carole Lombard supported by William Gargan.

It is a film that stays in the middle, it starts out well, it is entertaining but it develops taking as understood situations that are not clear. The development of the Lombard and Gargan couple is taken by the hair, there is no moment where they connect and unless a deep problem arises. The problem of pregnancy is taken for granted and one does not know when it happened.

Remarkable performances although the script did not help much and the 3 characters are flat without much to say. Charles Laughton is surprising because at first it seems not to be very interesting and ends up being the moral. Carole is fine and looks as natural as possible despite the forced scenes she's in. Gargan in this role that begins lonely and mysterious but is halfway through development. He is nominated for 'Best Supporting Actor' at the Oscars and is the only nomination the film gets.

A drama that involves the passage of time in small towns, directed by Sam Wood, starring a young Martha Scott and William Holden supported by Fay Bainter and Thomas Mitchell.

It made me entertaining, capable is not so dynamic but it is concise and you can easily understand the whole development. I assume that this film version was thought from projecting emotion and for the time I think it achieves it. Simple resources like the narrator makes it a neat tape. There are rare scenes like the ghost talk capable not very well carried out technically but the intention is noticeable.

Martha Scott is doing great, brings freshness and the strongest drama. Oscar winners Fay Bainter and Thomas Mitchell supported very well.

Film nominated for 6 Oscars, including: 'Best Picture' and 'Best Actress' for Scott.

The iconic adaptation of the musical that comes from the play premiered in 1926 by journalist Maurine Dallas Watkins. In this version brought to the big screen it is directed by Rob Marshall, starring a young Rene Zellweger, and supported by big names like Catherine Zeta Jones, Richard Gere, Queen Latifah, and John C. Reilly. It makes me one of the best musicals brought to the screen, it transmits that lively energy, dynamism and show like no other.

The direction is unimpressive but has a charm when combined with a pompous and fleeting script. The way that puts the role of women in a vulnerable position but at the same time empowered by taking advantage of the place that puts them. This is well projected in the musical numbers, and none of them is filler, everything contributes to the narrative of the story, the arc of the characters, and they are all explosive.

The fidelity that the choreographies and printing maintain to Bob Fosse makes one fall in love and even more makes this play naughty and sensual.

The performances are incredible. Rene gives one of her best performances in this leading role, her number "Roxie" leaves her mark. I want to talk about the colossal and ardent Catherine Zeta Jones, she is a supporting actress but she is my favorite, her performance never lets go of her even in her musical numbers, "Cell Block Tango" intimidates the viewer in a surprising way with that presence accompanied by a roaring voice and strong choreography, a passionate and empowered character without a doubt, for me it is the best Oscar for Best Supporting Actress of the decade and my top 5 of all time. Richard Gere is his best performance ever, I have never seen him so devoted to a character that apart from his comfort as an actor, without believing that he was not nominated for the Oscars. Queen Latifah and John C. Reilly have little screen time but that does not make them stand out less with their presentation numbers that also remain with a stamp.

Film nominated for 13 Oscars, winning 6. Among them the most important of the night "Best Picture" being one of the few musicals with such a feat. They also honored Zeta Jones' fierce performance in supporting actress, sound, costume, art direction, and editing.

Alfred Hitchcock's first Hollywood production, starring Joan Fontaine, Laurence Oliver and supported by Judith Anderson.

It is a film with a dark aura, exquisite in its shots that seem empty but immediately one delights in those empty corridors being able to imagine the echo of those large spaces in that house. It has a lot of personality, and that is because of its legendary director who takes all the credit for me. The plot is well run and accessible, it became a bit dense in the middle. The way Rebecca's character is put together is great, it doesn't require an actress to play it because in our minds she has her own face and scenes, even the energy that adheres to the character.

The performances were neat, it is the first film I have seen by Joan Fontaine and I admit that she did not surprise me, I suppose that her character was not so enthusiastic. Laurence manages to stand out a little more giving having the role of developing the twist of the film, where he takes it out of that seemingly nostalgic and gray character, and becomes something darker. Judith Anderson stands out strong with this sinister and insane housekeeper, a superb performance that works.

Film nominated for 11 Oscars, winning two, including the most important of the night "Best Picture". It is the first film of the mystery and dark genre to win in this category, surprising as I have read here that it is the only Hitchcock film that has achieved this.

I love romantic clichés and more if they are classics without caring about the bad details, I usually contextualize myself and I am not interested in anything but love but here the certain unknowns that are proposed made me see it differently.

The friendship between man and woman as something false (???), something that is obviously very clear that it is not true today and it is not necessary to clarify, but here it does not bother me that they give a wrong answer but a development that really they seemed like friends, maybe a little confused or cool but I didn't think they were close enough to end up together although obviously it was predictable.

Neat performances by both Billy Crystal and Meg Ryan have a beautiful chemistry with two such opposite personalities that they rose to coexist.

This friendship / love story was nominated for the 1990 Oscars for 'Best Original Screenplay', a well-deserved recognition by the academy, nominating a genre that is not so accepted in technical matters among the 5 best.

Director Azazel Jacobs's work starring Michelle Pfeiffer and Lucas Hedges where they show the story of a wealthy family who go bankrupt after unexpected events.

I noticed the film carefully and with a potential that was not taken advantage of, it had a dramatic touch but until then and the same with its humor, there are scenes accompanied by dialogues that are funny but they do not go to the maximum either. There is no very clear thematic axis and this in the first half proposes dynamism but already the second half becomes bizarre and a touch confused by the symbolisms that appear suddenly.

Michelle Pfeiffer is superb, she does something that capable does not amaze but enchants from the first moment. One of those characters that are desired and surprise with their actions. The relationship she had with Hedges is well managed, they had a distance that is understood by their problems but at the same time they have their codes a little acid where that mother-child relationship is demonstrated. Danielle MacDonald is doing very well in her little role.

The long-awaited film is finally here, directed by Joe Wright, starring Amy Adams and supported by Oscar winners Julianne Moore and Gary Oldman. A movie that was sold to me as a psychological thriller with a degree of depth that I did not see. It made me literal and without an interesting focus, the murder of her neighbor and the whole story that seems to be a "plot-twist" end up giving in to the fact that it is a film about a girl who gets involved and investigates the murder of her neighbor and nobody believes her, as ornaments there are sinister characters like Oldman or his son who do not contribute anything. Very poor where you see it, the only acceptable thing was the performances. Amy please stop this. The resources to generate suspense, the count of days and even agoraphobia were accessories as well.

Directed by Victor Fleming, starring Vivien Mcleigh, supported by great movie stars like Clark Gable's heartthrob, Leslie Howard, a young Olivia de Havilland, and Hattie McDaniels, the first black person to win an Oscar in acting categories. It is a masterpiece without a doubt, that if it may seem very long and dense but nobody can go against the fact that it is technically spectacular and at the same time that duration is accessible with the plot and it is not difficult to follow the thread if one persists. I am surprised by the quality of the film, really if one does not do detail in small things or realize that it is a film from the 30s, it has an exquisite and beautiful cinematography, and a dynamic script that takes advantage of all the characters it has and none it remains flat in history. The first part before the break was amazing to me, then the second where it becomes more of a drama and the warlike is secondary or consequential to what we see became heavier for my attention.

The performances despite being melodramatic are brilliant.

Vivien Leigh deserves everything for having the film on her shoulders for 4 hours and not boring. She doesn't become monotonous, her character has an evolution that goes from being a capricious and naive girl to a warrior woman who fights for her well-being doing whatever it takes using her vanity and manipulation above all, her gestures and relationship that she has with each character is very good. Clark Gable gives one of his best performances, that rude but sensitive man and the only one to bare the soul and at the same time face the character of Vivien without hesitation. Olivia de Havilland radiates that white and angelic energy, that only she could achieve. Leslie Howard, who is one of my favorite actors, doesn't stand out as much as other times, but he's just as splendid. Hattie McDaniel brought something motherly to the film and to her relationship with Vivien, a presence that does not go unnoticed.

Film that swept the 1940 Oscars, taking 8 awards from 13 nominations including: 'Best Picture', 'Best Director' to Victor Fleming, 'Best Actress' to Vivien Leigh for a well-deserved performance and 'Best Supporting Actress' to Hattie McDaniel making film history beyond the shameful, painful and racist story of the presentation of her award at that year's ceremony.

The unforgettable version of The Wizard of Oz, directed by creative Victor Fleming, performed by the legendary Judy Garland and supported by Frank Morgan, Billie Burke, Ray Bolger, Bert Lahr, and Jack Haley, among others. The proposal is immensely creative and limited for the time, but this is not perceived. From the Technicolor, outfits, makeup, scenery and effects are totally rich and never seen for those years. The story is concise, funny, dynamic, and very cute until today, it does not need anything. The musical numbers are beautiful as are the simple choreographies that accompany them.

A fascinating cast with cartoony-appropriate performances. This film is by Judy, young and radiant with a freshness seen throughout the film singing and dancing accompanying her innocent performance.

Film nominated for 5 Oscars in 1940 including 'Best Picture' and winning 'Best Music' and 'Best Original Song' for the beautiful and unforgettable "Over the Rainbow" performed by the sweet voice of Judy on the tape.

A quiet drama that shows the evolution of a teacher over the years at the same institute. Directed by Sam Wood, starring Robert Donat and supported by Greer Garson. It is a calm and patient film, it has a nice evolution but at the same time it seemed superficial to me. It can be understood that the focus is his vocation as a teacher and how it grows by wanting to reach his students beyond the classroom but at the same time it is not so clear. It has scenes but they were not enough or in the best way carried out. It is pleasant with a sentimental touch but I would have liked to see the presence of the resources that it proposes during the course, such as the character of Greer G. Who contributed a lot but was removed very quickly and even her absence was not affected by the character of Robert D.

The performances were good, they all become close with the sentimental load with which they develop. Robert Donant is the example of this, he took a performance out of the drama, going to something more personal in his role. Greer Garson gave a very good performance although with very little time to take it to the maximum.

This film was nominated for 7 Oscars in 1940 among them: 'Best Picture', 'Best Actress' to Greer G. Who should have been a supporting actress and takes 'Best Actor' that beyond that Robert D. Was very good , I prefer James Stewart that year with 'Mr. Smith Goes to Washington '.

Western which is part of the 3 films directed and released in the same year by John Ford, this time starring a young John Wayne and Claire Trevor, supported by George Bancroft, Louise Platt and Oscar winner Thomas Mitchell.

It seemed spectacular to me, a very well accomplished job. Many characters and all contribute something different to the plot, this resource can sometimes be in the middle of being exploited as there are characters that are a bit on the sidelines although it does not happen in a serious way and it is understood why they delve into the characters of John and Claire It is a western with a particular personality like Ford's, it offers excellent and pleasant shots at all times but in the chase it really is on another level. The cast is very correct, Wayne and Trevor give the love drama that makes the film more sentimental and does not remain as just a battle, and the cast was in charge of promoting action and comedy, especially the latter Thomas Mitchell establishes it in each scene , a grace and presence that enhanced the tape a thousand times more with his drunk character.

Western nominated for seven Oscars including 'Best Picture' and technical categories. Winning 2, 'Best Music' and 'Best Supporting Actor' to Thomas Mitchell, excellent victory.

Drama that mixes romance and illness directed by Edmund Goulding, starring Bette Davis and supported by George Brent and Geraldine Fitzgerald, among others. The film has a certain charm although sometimes there is something in the narrative that did not convince me at all. It is a job that I would have to see again to be able to make a magnifying glass and realize that it is what I do not close myself. Everything is presented well and has a neat evolution especially of the time and the disease of the main one, the only unnecessary thing was the romance between Davis and Brent, it did not contribute much and it would have been more symbolic for that doctor to become a more intimate friendship and not a typical romance. As I understand it, it was the 30's.

In performances they were very good. Bette Davis is the movie, if she hadn't been chosen for this role it would have been very different and not in a good way I think. The deep and painful gazes of the actress made that illness look real, her final performance is incredible. The cast was very good, Geraldine Fitzgerald with a presence that was noticed and she did not stay small next to the great Davis and like Humbrey Bogart, proposed a freshness that I had not seen before in him. His scene with Davis in the barn, very good.

Film nominated for 3 Oscars awards: 'Best Picture', 'Best Actress' to the brilliant Bette Davis, and 'Best Music'.