Review: The Post (2017)

All the President’s Men: The Prequel

by Benjamín Harguindey

Before Watergate there was the Pentagon Papers, classified documents detailing the historical and military involvement of the United States in Vietnam for over 20 years. These were leaked and published by the New York Post and, more the point of this movie, by the Washington Post. It’s so much easier to root for the underdog, which was the case of the Post in 1971, when it was about to go public and was headed by the rare female editor.

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Review: The Cloverfield Paradox (2018)

In space no one can hear you suck.

by Benjamín Harguindey

The Cloverfield Paradox marks the third entry in the so-called Cloverfield franchise. The first movie, already a decade old, was a found footage horror flick about a Godzilla-style attack on nighttime NYC that benefitted from terrorism paranoia. The second movie, 10 Cloverfield Lane, ditched the shakycam and set up a hypertense thriller in an underground bunker while… something raged on outside.

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Review: Mindhunter (S01, 2017)

I would kill for you.

by Iñaki Oñate

Jeffrey Dahmer used to chop up his victims and put them in his refrigerator, right next to a tupper filled with waldorf salad. Why did he commit such horrible acts of psychotic rage? His victims were also his lovers: he would kill them in order to posses them forever. Killing them and cutting them into pieces was a way to ensure that they wouldn’t leave him or break his heart. Continue reading “Review: Mindhunter (S01, 2017)”

Review: Star Wars: The Last Jedi

Spoiler-free judgment.

by Benjamín Harguindey

Continuing the process of mirroring the original trilogy movie by movie, Star Wars: The Last Jedi (2017) is a send-off of The Empire Strikes Back (1981), albeit a feeble one. Though it supplies some entertaining action-adventure and strikes emotional notes as characters find closure to their arcs, as a “dark middle” for the new trilogy it’s quite tame.

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Review: You Were Never Really Here (2017)

There’re still monsters in the shadows.

by Antonio Cabello Ruiz-Barrecos

Review of You Were Never Really Here (2017), directed by Lynne Ramsay. USA.

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Review: 120 Beats Per Minute (2017)

An exercise in cinematographical activism.

by Antonio Cabello Ruiz-Barrecos

Review of 120 Beats Per Minute (“120 battements par minute”, 2017), directed by Robin Campillo. France.

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