CÃO SEM DONO

Bom pra caramba! Existencial!

MANHATTAN

THE BICYCLE THIEF

Dá época da ECA.

THE HAPPENING

Nem sempre o M. Night Shyamalan é bem interpretado. Nem sei se esse filme já chegou por aqui.

FAST FOOD NATION

Mais um do Richard Linklate, sem querer.

DAZED AND CONFUSED (1993)

É do Richard Linklate (Antes do amanhecer). Só pra conferir se vale a pena.

MY OWN PRIVATE IDAHO (1991)

É Gus Van Sant.

NATIONAL TREASURE 2: BOOK OF SECRETS

ANNIE LEIBOVITZ: LIFE THROUGH A LENS

É um documentário sobre uma das mais conceituadas fotógrafas de moda dos EUA.

DAN IN REAL LIFE (2008)

THE MIRROR

Tarkovsky.

THE KILLER (1989)

Baixei só para conferir as 5 estrelas do allmovie.

LARS AND THE REAL GIRL (2007)

HARD EIGHT (1996)

Before his commercial breakthrough with Boogie Nights (1997), writer/director Paul Thomas Anderson made this low-key drama. John (John C. Reilly), a half-bright loser stranded in Reno, is down to his last few bucks when Sydney (Phillip Baker Hall), taking pity on him, buys him breakfast and offers him a few tips on making money in the casinos. Two years later, John has become Sydney's partner, but his lack of common sense goes from problematic to dangerous when he falls in love with Clementine (Gwyneth Paltrow), a cocktail waitress who isn't above turning a few tricks when she needs to make money — and isn't any brighter than John. Hall and Reilly, both first-rate character actors, are cast in rare leading roles, and Paltrow is cast strongly against type as a part-time prostitute with a serious lack of street smarts.

MARGOT AND THE WEDDING

Margot at the Wedding, writer/director Noah Baumbach's follow-up to his Oscar-nominated The Squid and the Whale, stars Nicole Kidman as Margot, a woman who travels with her son to the wedding of her sister (Jennifer Jason Leigh). The relationship between the two siblings has never been harmonious, a situation that is exacerbated when Margot discovers she cares very little for her sister's fiancé (Jack Black). Soon the high-strung Margot escalates a feud between her sister and the neighbors, and family secrets come to light, forcing everyone to rethink their various feelings toward each other.

WHEN HARRY MET SALLY (1989)

Rob Reiner's romantic comedy When Harry Met Sally stars Billy Crystal and Meg Ryan as the title pair. The film opens with the two strangers, both newly graduated from the University of Chicago, share a car trip from Chicago to New York, where they are both going to make their way. During the trip, they discuss aspects of their characters and their lives, eventually deciding it is impossible for men and women to be "just friends." They arrive in New York and go their separate ways. They meet a few years later on an airplane and Harry reveals he is married. They meet again at a bookstore a few years after that where Harry reveals he is now divorced. From that point on, the two form a friendship. Eventually their closeness results in their respective best friends (played by Carrie Fisher and Bruno Kirby) meeting and falling in love with each other. At a New Year's Eve party Harry and Sally confront the complex tangle of emotions they feel for each other. The soundtrack consists primarily of Harry Connick Jr. crooning standards like "It Had to Be You."

MYSTERY TRAIN (1989)

Written and directed by the ever-unpredictable Jim Jarmusch, Mystery Train is comprised of three short anecdotes involving foreign tourists in Tennessee. Each story is set in a fleabag Memphis hotel which has been redressed as a "tribute" to Elvis Presley. Story #1 involves two Japanese tourists whose devotion to Elvis blinds them of everything around them. Story #2 finds eternal victim Nicoletta Braschi sharing a room with stone-broke Elizabeth Bracco and having her problems solved by a spectral vision of The King. And story #3 offers the further misadventures of Bracco, her no-good boyfriend and her dysfunctional family. Any film that features Screamin' Jay Hawkins as a hotel clerk has us squarely in its pocket.

COCAINE COWBOYS (2006)

In the early '80s, a new business emerged in Miami, FL, that changed the face of the city forever. That business was cocaine smuggling; as America developed a growing appetite for the drug, Colombian suppliers found that Miami was a good place to bring it into the United States, and a new breed of outlaws were more than happy to face the risks of importing cocaine in exchange for the massive profits to be made. At one time, cocaine runners were making so much money that the city's banks were running out of room to store the cash, and smugglers were developing new ways to move the product, from floating tanks with radio tracking devices dropped into the ocean to cars stashed with drugs so well-connected drivers with tow trucks could haul them away and abandon them if necessary. The profits from Miami's cocaine explosion helped to transform the city into a major American playground, but it also brought a criminal element interested in more than just dealing drugs, as bloody reprisals between competing gangs of smugglers became commonplace, and hitmen began working overtime to keep up with the demand for revenge. Billy Corben and Alfred Spellman are a pair of Miami-based filmmakers who were able persuade a number of key figures from Miami's '80s cocaine trade to speak on-camera about their exploits, as well as law enforcement officials who struggled to keep up with them. The result was Cocaine Cowboys, a true-life thriller about the underworld culture that helped spawn the film Scarface and the television series Miami Vice. Jan Hammer, who composed the Miami Vice theme song, created a like-minded score for the documentary.

KIDS (1995)

Kids offers a bleak, unblinking view of a group of vacuous, thoughtless New York City teens in their ceaseless quest for sex, drugs, and trouble. The film primarily follows Telly (Leo Fitzpatrick), who, having just realized the conquest of his latest virgin, brags that by day's end he will claim one more. While he and his friends brag to each other about their sexual exploits, Jenny (Chloë Sevigny) describes her own less-than-romantic encounter with Telly. Soon after the conversation, she learns that Telly, the only boy with whom she has slept, has infected her with the AIDS virus. Devastated, she sets out to find him and share the news. Meanwhile, Telly has set his sights on Darcy (Yakira Peguero), a lovely young girl whom he invites for a skinny dip at the local pool. Together with his friends, Telly drags Darcy along, and the entire crew jump the fence after hours. There he presents his now-familiar spiel which Darcy naïvely accepts, and the scene is set for disaster as the group heads back to a vacant apartment for an evening of sex, booze, drugs, and debauchery. Jenny finally locates Telly at the impromptu party and rushes to confront him, although she may be too late to save the next virgin in line from sharing her fate.

MEETING PEOPLE IS EASY (1999)

The British rock band Radiohead are an unusually introspective and downbeat group of musicians, which would make them unlikely candidates for international pop stardom. But against all odds, that's what happened to them in the wake of a hit single, "Creep," and press notices that have made them one of the most talked about English groups of the 1990s. In Meeting People Is Easy, director Grant Gee watches the band as they record their third album, the highly acclaimed OK Computer, then head out for an international tour, playing concerts and promoting the record in Europe, Japan, and the United States. Anyone expecting high-spirited hijinks in the manner of This Is Spinal Tap will be quickly disappointed (though anyone expecting high spirits from Radiohead has probably never heard their music). Meeting People Is Easy focuses on the downside of life on the road, as the band is booked into a long series of non-descript arenas, invited to perform on award shows where they clearly feel out of place, and repeatedly answer the same questions from an endless parade of journalists, with lead singer Thom Yorke often seeming to buckle under the strain. Meeting People Is Easy received a brief theatrical release in the United States prior to its bow on home video through the band's American record label, Capitol.

ANNIE HALL (1977)

Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. Jewish comedy writer Alvy Singer (Allen) ponders the modern quest for love and his past romance with tightly-wound WASP singer Annie Hall (Diane Keaton, née Diane Hall). The twice-divorced Alvy knows that it's not easy to find a mate when the options include pretentious New York intellectuals and lifestyle-obsessed Rolling Stone writers, but la-di-dah-ing Annie seems different. Along the rocky road of their coupling, Allen/Alvy weigh in on such topics as endless therapy, movies vs. TV, the absurdity of dating rituals, anti-Semitism, drugs, and, in one of the best set pieces, repressed Midwestern WASP insanity vs. crazy Brooklyn Jewish boisterousness. Annie wants to move to Los Angeles to find that fame that finally does in the relationship — but not before Alvy gets in a few digs at vacuous, mantra-fixated California. Originally entitled Anhedonia (the inability to enjoy oneself), Annie Hall blended the slapstick and fantasy from such earlier Allen films as Sleeper (1973) and Bananas (1971) with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, Annie Hall beat out Star Wars for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend.

AKIRA (1988)

Uma animação à frente de seu tempo. Vi esse filme quando era moleque, e não entendi nada. Mas me recordo bastante das cenas de violência, dos efeitos especiais inéditos, como as explosões e faíscas de bala. Nada melhor do que rever adulto, pra ver se se entende agora.

ONCE (2007)

Entre as muitas formas de arte, a música é a mais bela. Cinematograficamente, o filme é simplório, mas as canções e o papel que a música tem na transformação da vida dos personagens é fantástico. Eles amarram o roteiro de uma forma real e bela. São duas pessoas humildes, excluídas, com empregos ordinários, que escondem por trás um talento, pra vida e pra música, que julgam terem perdido.

http://www.allmovie.com/cg/avg.dll?p=avg&sql=1:381696

CONTE COMIGO (2001)

A cena em que o Mark Ruffalo chora, à beira da cama, resume o sentimento do filme. São dois irmãos sufocados por problemas cotidianos que se encontram depois de anos, esperando que o outro veio para ajudá-lo. Mas como ajudar alguém quando já se está tão cansado? O carinho, a fraternidade, a compreensão e o sacrifício são só alguma dessas coisas, que mesmo sem ter, é possível oferecer ao outro, de coração.

http://www.allmovie.com/cg/avg.dll?p=avg&sql=1:187097~T0

L.A. STORY

It's ironic that comedian, writer, and actor Steve Martin became best known for a brand of goofy, zany, physical humor replete with spoofs of low-I.Q. simpletons. Since the late '80s, he's been busily creating stage two of his career marked by the classy, erudite, intellectual, and satirical where before he was base, broad, and low-brow. The original Martin was a lot of fun with an arrow through his head or dressed like King Tut, but his later work is his best stuff. It includes Roxanne (1987), A Simple Twist of Fate (1994), Bowfinger (2000), his plays and essay collections, and supporting roles in high-class fare such as Grand Canyon (1991), The Spanish Prisoner (1997), and Joe Gould's Secret (2000). This comedy, which skewers the airy, weightless culture of Los Angeles with wicked, fiendish glee, while at the same time joyfully embracing such elements as New Age music and the city's meteorological perfection, is one such example of Martin's "stage two" best. Whether he's skating through the L.A. County Museum of Art or sending up the town's insatiable taste for customized coffee (pre-Starbucks, no less), Martin's perception is keen, his poisoned pen sharp, and his sense of the sublimely ridiculous acute as ever. If a handful of elements in L.A. Story (1991) are dated (freeway shootings, for one example), it's only because his has transformed into a keenly observed, timely comedy. Richly rewarding and enormous fun, it's one of a great artist's best films.

As duas melhores cenas de um filme belo e esquecido. O amor nas condições atmosféricas. Quem ver, que julgue. Esse é para um cara que é fã desse filme...

SON OF RAMBOW

As the summer sun shines down on England in the early 80s, two boys who couldn't be more different are brought together by a mutual love of cinema and a desire to emulate their favorite action movie icon. Will Proudfoot (Bill Milner) is a well-mannered schoolboy being raised in an ultra-religious community that deplores such corruptive distractions as television and seeks to maintain its purity by severely limiting contact with the outside world. In order to exorcise his creative inner demons, Will has taken to sketching imaginative drawings and complex illustrations. Lee Carter (Will Poulter) is the school terror, a rampaging hellion whose overaggressive behavior has made him an endless source of frustration to the faculty, and a source of fear to his fellow classmates. As fate would have it, Will is in the school hallway avoiding exposure to the classroom television when a fed-up teacher ejects Lee from the classroom. Though at first it appears as if Lee is about to torment timid Will just as he does the rest of the student body, the two form a tight bond after Will convinces Lee to view a bootleg copy of Rambo: First Blood. When Lee informs Will that he wants to shoot a homebrewed version of the violent action film for an upcoming amateur filmmaking contest, a sudden streak of rebellion prompts his sheltered classmate to readily agree. As the summer wears on the two boys set out to create the ultimate no-budget action movie, but their grand vision hits an unexpected hitch when a busload of French exchange students arrive at the school and the leader of the pack attempts to hijack the production.