Mini-Review: This Costeau-inspired, 1970s-driven father-and-son drama is Anderson's loveliest film: it might as well be the first avant-garde feature of the 21st century with a true, gentle heart. It's also the a great collective effort: Seu Jorge's nice David Bowie adaptations, my Sigur Rós' favourite song, Selick's strange animation segments, and warm acting all around. Just lovely.

Mini-Review: The scripts allows the characters to be completely self-conscious -- this is bad --, but I guess Anderson never designed a movie as exquisite as this one -- the horizontal (and also the 1970s-inspired travelings) shots suits the storytelling with great moves and sequences, and the Kinks songs set just the right mood. This is the case in which the content never meets the decoration, though. You know, sometimes trains get lost.

Mini-Review: Abrahams tries too hard to make this Godfather-meets-Casino work -- some scenes are good, others totally suck --, but his failures are there to be noticed since the beginning: without the Zucker brothers on his side, he has problems with the storytelling and most of the gags are unoriginal -- they just make fun of other films, and that's it. Bridges, doing his last film with the ZAZ team -- or at least with just the A team --, shines.

Mini-Review: A familiar wild-girl-seduces-ordinary-guy dramedy smartly scripted with a racial/political agenda and shot as some sort of communist soft porn. It works for 20 minutes or so -- like any indie happysad feature --, and then it becomes the typical "special" love story of another "strange" couple.

Mini-Review: I didn't know Clint could direct such an uninspired, loosely crafted film as this J. Edgar. Shifting the timeline of Edgar's life, the director easily puts his public and personal sides into perspective, but fails to give more than a just cold, well-informed biopic. Despite its dialectical tensions -- it blends the pride of the FBI figure with the fragility of the private man --, it's a lifeless work.