Sonhos e Vingança

This is not a serious film. It tries to be in a couple of places but doesnt make it. Some of the dream sequences are just a tad laboured but only a tad. Apart from this small points it is full of good humour and I certainly enjoyed it. I do not watch films for messages, for me that just escapes the point. Film is escapism, that is why it exists, to take us out of ourselves, to make us laugh,cry and smile. This is what DUDES does. We follow 3 punks cross country and their encounters with different people. They are products of the multi-cultural mix that is New York, the scene of all three bored in the VW driving thru the desert is truly hilarious. The second half of this film is bit more bleaker with dream sequences et al but still this is remains a joy. I was left with a good feeling after the end of this film and do so every time I revisit it.

Three punkers begin a road trip from New York to California looking for "paradise", but encounter romance, violence and death on their way instead. Problem is that the characters are mainly unengaging, so it's hard to care about the outcome of their adventures. A pointless, frequently obnoxious film, with very little to recommend it. (*1/2)

Fun offbeat 80s puck rock comedy/drama about two New York punks, Jon Cryer and Daniel Roebuck, who travel out west and run afoul various rednecks, bikers, and lawmen in a southwest desert community on their way to LA. "Dudes" was directed by Penelope Spheeris, who made the seminal punk rock documentary "Decline of the Western Civilization," but this film isn't as much a document of punk culture as it is an oddball 1980s counterculture time capsule. Despite the two lead actors being decidedly un-punk rock, the film does feature legitimate musicians Lee Ving (FEAR) as a biker, John Densmore (The Doors) as a cop, Flea (The Red Hot Chili Peppers, FEAR) as a punk buddy of the two leads, and also an appearance by The Vandals during the film's opening. Ving is a particular standout as a nasty loudmouth biker. Seeing him this film really made me want to see him in more, although his filmography is sadly pretty short and primarily supporting roles (though I really do want to find a copy of his appearance on "Who's the Boss"). "Dudes" also gets time capsule value with the casting of Catherine Mary Stewart ("Night of the Comet" and "The Last Starfighter") as a local wrecking service owner who helps the dudes when their Volkswagen Beetle needs fixed. Also of note is that this was the fourth feature film shot by cinematography by Robert Richardson, who'd later go on to be the regular director of photography for the likes of Oliver Stone, Martin Scorsese, and Quentin Tarantino. Overall, "Dudes" is not as gritty as Spheeris' "Suburbia" nor is it as entertaining of a counter culture comedy/drama as "Something Wild," but the end result is an interesting time capsule that held my interest. There's also a decent soundtrack that features everything from Jane's Addiction to Carl Perkins.

This movie is fun. And it's great in that it is remarkably fun, as opposed to "about anything." If you can take it in context of "Punk-Western" as a "rock" movie and a western the bar is not set incredibly high to begin with, and this clears the hurdle with ease in merging two genres that usually droop into the exploitation movie quality level. Penelope Spheeris's prior works: Decline of Western Civilization and Suburbia were genuine and earnest portraits of punk-rock music, the first from a documentary perspective of the performers, and the second from the subjective fictional live of the fans of the genre. this is an attempt to launch these concepts into the language of mainstream genre cinema and succeeds better than adequately. Admirably, exceptionally, debate and quibble about the adjective. no matter what. this is approximately 1 1/2 hors of fun movie watching with that little extra to think about. And I occasionally entertain the bizarre notion of building a religion around Daredelvis. If one respects a youth culture as an anthropological phenomenon, tis film shines out as the "punk" take on westerns almost in the way that "LITTLE BIG MAN' was a 60's hippie western

Film-maker Penelope Spheeris's 80s absurdist road-tripping slacker black comedy sees three punk rockers leaving New York on their way to a better life in California, but on their way there they become targets of a ruthless hillbilly gang (led by an impressive Lee Ving) with one of them ending up dead. For the remaining two, instead of heading to California they decide go after the gang. This is one very odd, slapdash journey narrative with broad humour, but an even brutal tone and cross-cultural conflict as the modern punk scene meets old west philosophy as actors Jon Cryer, Daniel Roebuck and Flea find themselves along for the ride. I'm not that much of a fan of Cryer, but this is definitely the best thing I've seen him in. Also showing up in the cast is Catherine Mary Stuart. For a road movie, scenery is important and here the Arizona backdrop provides many picturesque sequences. Director Spheeris crafts out some surreal dynamics from the visuals and sets up some good stunt pieces. Pumping soundtrack, edgy script and kooky characters only added to this cult film's spontaneous and jarring charm.

"I'm so sick of waiting for the world to end."