Sarentrol Masterful Cinema

Stellead Don't listen to the Hype. It's awful

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

ma-cortes Carmen (Natalia Verbeke) , a gorgeous Spanish girl with a dark past , is about to be married to Barnaby Caspian (James D'Arcy), a good-looking but slightly boring Englishman . While out with other women on her 'hen night' she meets a Brazilian young called Kit (Gael Garcia Bernal) holding his handy camera along with his two friends (Tom Hardy , Charlie Cox) and then following a French tradition she warmly kisses him ; later on , Carmen falls in love for him . As young lovers in London are wrapped up in a love triangle that may not be exactly what it seems . As her wedding date approaches, she finds herself struggling to put this newcomer out of her mind, full of secrets as well as mysteries , but his effect on her keeps growing stronger and danger is in the details.Drama/Romance/intrigue movie ; the picture begins as a triangular drama and finishes as a thrilling story about a strange trio and their twisted relationship among them , filled with lasting images , delightful interpretations , style , slow moving and plot twists . It is an exciting film displaying suspense , intrigue , plot points , a touching love story , nudism and interesting drama well written by the same filmmaker Matthew Parkhill . In ¨Dot the I¨ , we see a surprisingly thoughtful approach to an otherwise tiring premise, one we're confident audiences will be well gripped into a peculiar romance and a twisted intrigue . Likable acting by Natalia Verbeke as a beautiful woman with a tendency to lose her temper at the drop of a hat , James D'Arcy as a caring, wealthy young and Gael Garcia Bernal as a stranger who suddenly sparks a passion that has been sleeping within her and they have a deep crush on each other . Nice support cast such as two formerly unknown actors : Tom Hardy and Charlie Cox . Colorful and evocative cinematography by Alfonso Beato , being completely shot in London . Atmospherical musical score by Javier Navarrete , including a spectacular 'Andalucia dance' carried out by Natalia Verbeke at a Flamenco Tablao . This passionate motion picture was well directed by Matthew Parkhill who even appears a cameo as doctor giving bad news in the hospital and the name of the hospital at the ending is "Parkhill Hospital". Matthew Parkhill is a writer and producer, known for (2003), Rogue (2013) and Romeo Thinks Again (1998) and especially this ¨El Punto Sobre la I¨ or ¨Dot the I¨ . Rating : Better than average , worthwhile watching .

tedg Another clever shape. Another incompetent execution.This follows the standard pattern for the reverse con: an elaborate movie on a movie, with turnabout at the end. The novelties here are that the con is really a movie, the movie we see, and because of that we ourselves are conned into thinking that we are seeing a romantic drama.Its very nicely imagined, with just the right overall shape. And there are moments when the girl is effective. But all the actual cinematic qualities you need are delivered poorly. In particular, you need a rhythm-in-the-small. Everything grows from that. Its the key thing that's missing here. When you make an effective con movie, you rely on that rhythm to lull the audience, to suck them in. It isn't rocket science, and apparently comes intuitively — or not. One indirect narrative lever here is that the two lovers are Latn: the guy is Brazilian, the girl Spanish, both in London. So they tried to insert a flamenco section (she's a part-time dancer). I just saw a film that did this effectively: Mike Figgis' "Hotel." That rhythm permeates and works. In fact, its a matter of genius that it unifies the thing.No such luck here.Ted's Evaluation -- 2 of 3: Has some interesting elements.

duyanoleo So it starts off fairly interesting, although suffering from a total lack of nuance or finesse. As the plot contorts itself realism goes out the window and the script loses itself in it's cleverness. The writers obviously loved their concept so much they could help but overwrite the in-you-face dialogue-heavy climactic scenes in which Kit and the overdone Barnaby reveal the truth. And then there's the terrible conclusion...are we meant to believe that a protagonist who had moral qualms over filming a girl without her consent will laugh and help her kill a man, and then incriminate two innocents for his murder? And then as Kit & Carmen shoot to stardom with a poorly shot, poorly lit digital video movie, they have no regrets, no guilt? This is NOT the Kit character we have been following throughout the film. It's the result of soulless, sloppy writing for the sake of a cheap gimmick.

Michael Bo Young Brazilian guy in London falls in love with Spanish girl about to be married to a rich English man. Featuring heaps of video cameras ...Preposterous and badly written, the visual style is jarring and too self-consciously cool for the story to make much sense. Films like this one are too easy to make. They are all about coming with with a new surprise twist every 15 minutes, and they don't even have to be good, so long as they keep us surprised they don't need to add up. And then, if you say that it is a meta-indie-flick, all opposition among cineasts must be stilled.Or ...? Well, I don't buy into it. The recent 'Wicker Park' tried to do the same, boasting a non-linear plot line that covered the fact that there was no actual story to tell. 'Memento' had something it wanted to convey, but that was the exception. Too many movies nowadays ape this faux-documentary style because they hope the jarring aesthetics will keep us riveted, but without substance I dare say they will not.The film's first-time director, who, alas, is also the writer (almost always a bad idea) insists on not giving away his secrets, knowing that his house of cards will tumble down first chance it gets.The lead character Carmen is utterly unsympathetic, in the tradition we know from fatal French cinema, 'Betty Blue' and so on, her English boyfriend is a convenient caricature of the rich papa's boy slash cynical rich fart. The most startling thing about the film, in a good way, was James D'Arcy's suicide scene which was really well-played, and I must say that he was the only actor to actually get something out of this venture, although his part stinks.Gael Garcia Bernal seriously needs a career counselor, he won't survive much more muck like this one