Obsessão

After watching the movie I was asking myself what the heck did I just watch, but whatever it was I liked it....Now first off this movies is not for everyone, it's extremely sexual, violent, and at times confusing, but it is never dull or plotting. The story is captivating and the actor/actresses pull you in right from the start and never let go until the ending credits roll. The storyline is unique and original with it's crazy cast of characters. Don't try and out think this one, go with the flow and let this backwoods swamp tale take you on an mesmerizing journey into a world you'll be glad you were able to glimpse.

I'm going to say a few things about some of the actors/actresses as they truly do make this a must see movie. First Matthew McConaughey, if he's starting to get type-cast so what, he is absolutely wonderful in this role...bravo. Nicole Kidman is sensational, once again proving no matter what the role she excels and is without a doubt one of the very finest actresses of our time. John Cusack takes on a very different type of character than what you've seen of him the past and really shines and delivers a riveting memorable performance. The entire cast of this movie deserves credit for bring life to this Lee Daniels film.

I've noticed that some reviewers are giving this a less than glowing review, but in my humble but accurate opinion, this is an excellent piece of film making and should be given it's rightful praise for what it is....OUTSTANDING!!

This film reminded me quite a bit of "Deliverance." It's about how well-meaning people can end up way over their heads by getting involved with people and subcultures with which they're not familiar. It's less riveting than "Deliverance" but has more sympathy toward its characters.

The plot revolves around a small group of people who join forces for a cause: A woman who wants to free a prisoner she's become enamored of (by mail) and a couple of newspaper reporters who want to dig up the truth about the crime. One of the reporters is seeking justice, the other has a slightly different agenda. The idealistic reporter has a younger brother (Zac Efron) who is an innocent. Innocence, idealism and romanticism come up against opportunism and sociopathy and some of what happens is not too much of a surprise. The end of the movie had a great deal of dramatic potential and could have been more suspenseful in the hands of a more polished director. The movie overall is somewhat lurid, a Southern Gothic, but not as lurid as some critics have claimed. Overall it is a movie with some poignancy.

Lee Daniels' follow-up to the powerful Precious is an atmospheric work of Southern Gothic, based on a novel by Pete Dexter. Some might be precious (!) about their favourite books, but great films have been made which bear little resemblance to their source material, as fans of Dr Strangelove will know. I wouldn't call The Paperboy great, but with weightless yawners like Hansel & Gretel and Oz currently clogging the cinema, its rawness and energy is like licking an electric fence. In a good way. Grainy, saturated and wilfully unfocused, The Paperboy is a reminder of the power of 2D.

Matthew McConaughey continues his resurgence, tapping into a hitherto hidden vulnerability. He plays Ward Jansen, a journalist who arrives in the back-of-beyond with his partner, Yardley (David Oyelowo). They're in town to write a story about the unlawful conviction of Hilary Van Wetter (John Cusack). To entice him they employ Charlotte (Nicole Kidman, fearless), who's in love with Hilary, or the idea of Hilary. Finally, and centrally, there is scared, smouldering Jack Jansen, played by a very capable Zac Efron.

Jack wants to steal Charlotte away from all this: the alligator-gutters and the insufferable heat. Nicole thinks he knows nothing because he's young, but one of the films myriad themes is the value of youthful idealism: Jack is the only one of the main characters yet to plunge down a rabbit-hole of hopelessness and self-service. There is genuine affection on show, though, of the brotherly kind between Ward and Jack, and the motherly kind between Jack and Anita (a subtle and funny Macy Gray; further proof of Daniels' aptitude for bringing the best and least showy from musicians-turned-actors).

The film is ramshackle and imperfect - but this kind of works. It skitters along with little attention paid to the audience, with precise relationships between characters rarely spelled out, and chunks of action entirely elided. It's not quite as funny or bleak as the similarly southern-fried Killer Joe, but I do believe that The Paperboy has a more humanist agenda than William Friedkin's film, basically emerging on the side of people, broken as they often become.

Like Precious, this is a film containing difficult individual scenes, and a troubling ambivalence about whether we're investing in a set of real characters or peering at them through museum glass. But there's no doubt, when the camera starts rolling, that Daniels sets out to challenge his audience. In that respect, he has succeeded.

First off, I'd heard of Zac Efron, somewhere, I thought he was some teeny bopper's fantasy. But this kid is no lightweight. He's quite good here in an ultra adult film, as is everyone else, all playing against type: Kidman as a slut, McConaughey as a sexually troubled man, John Cusack as a backwoods maniac, and Macy Gray as a lovable servant.

My wife hated the movie but couldn't take her eyes off of it. And by its end, we were both thinking that was quite a ride. What more do we want from our movies? Everyone here, maybe a little less so with Efron who's the novice, abandons themselves to their parts. I didn't even catch Gray in a misstep though she's a novice too. They all channel their people quite successfully in a well-directed though not for the kids, movie that manages to shine a light on a south that actually was and for all I know still is in places.

The Paperboy (Lee Daniels, 2012) 3/5 Lee Daniels follow up to his heart wrenching Precious will make you feel dirty. In fact, there are times where you just feel the need to scrub yourself incessantly so you can cope with what is occurring on screen! Based on Peter Dexter's novel of the same name, the narrative follows two investigative journalists - Yardley Acheman and Ward Jansen - who aim to write a story to release convicted murderer Hillary Van Wetter. With the help of nymphomaniac Charlotte Bless, who corresponds with Wetter in prison and Ward's younger brother Jack they soon uncover not everything is what it seems in the sticky heat of the South.

The best way to get your head around is by remembering the exploitation films of the 1970's, where sex, drugs and violence were a staple. If you do this, then you can appreciate what Daniels and his producers were trying to achieve. Indeed, this is one of the films strengths as it pulls no punches at being explicit wherever possible, which garnered extremely mixed reviews when it was screened at Cannes last year.

The acting pedigree of the film is high with Matthew McConaughey and Zac Effron playing the two brothers, with Nicole Kidman excelling in her role as the troubled Miss Bless. However what damages the film is the slow pace and the lack of a proper twist. Generally speaking death-row thrillers have a big reveal at the end or a taut emotional climax. For example A Time to Kill, The Life of David Gale and Dead Man Waking all succeeded because they took the audience right through the investigation. The Paperboy does this to an certain extent; however it glosses over a majority of this in favour of highlighting the sweaty atmosphere of the inhabitants. At times, this becomes so overwhelming that it is difficult to think of anything else, let alone follow the characters as they reveal their dark sides and personal demons. Another issue is casting Macy Gray as the narrator. She might be one of the most annoying maids in film history and, unfortunately, you are stuck with her voice-over for the entire proceedings.

The cinematography is excellent as Roberto Schaefer's camera gets so close to the characters that you can almost smell their body odour in the immense heat. Yes, I told you this film would make you feel dirty. A great example of this is where Charlotte meets Wetter for the first time. They are sat apart in the prison meeting room; Charlotte spread her legs and begins to masturbate. This scene wouldn't have been so bad if they were alone, but Yardley, Ward and Jack are also in the room. Take that as you will… Even though The Paperboy is an uneven thriller, what it excels in is placing the audience in uncomfortable positions. A Haneke film this is not, but by doing this the whole issue of morality and senses in the cinema is raised. As such, Daniels new feature is a sweaty, sexy and visceral experience, which needed to take some more pointers from other more complete films. All in all, you may have to scrub yourself clean, but you won't forget the experience for quite some time.