THE STORY: In late 1930s Los Angeles, a down-on-his-luck street detective, Philip Marlowe, is hired to track down the former lover of a glamorous heiress, daughter of a well-known movie star. The disappearance unearths a web of lies, and soon Marlowe is embroiled in a dangerous and deadly investigation, where everyone involved has something to hide.“Marlowe: The Case of the Mysterious Blonde”: in theaters from June 8th.
Review: Francisco Quintas
It is neither unusual nor serious when an artist shoots to the side, when a project does not give it the intensity of applause it once had. What is, yes, strange is the increasing frequency with which they fail to sign quality works, to adopt the automatic pilot or surrender to sloppiness. Whether for one of these two reasons or for any other, it is regrettable that the filmmaker’s curriculum Irishman Neil Jordan has not seen, for many years, a work genuinely worthy of praise or smiling values at the box office.Although the 1990s were not masterpieces, it was a decade in which he managed to attract, not simultaneously, spectators, critics and academics, standing out for some cinephiles at the top of his filmography “Jogo de Lágrimas” (1992), “Entrevista com o Vampiro” (1994) and “Michael Collins” (1996). be unable to detach yourself from the old formulas, regardless of the genre you choose. In communion with recent works such as “Byzantium” (2012) and “Greta” (2018), which commit the sin of being as predictable as they are forgettable, “Marlowe” now arrives in theaters, whose script is further deepened by idle dialogues and a structure dependent on conveniences and dissonances. ” data-title=””Marlowe: The Case of the Mysterious Blonde”: a film with a new dose of Liam Neeson at half gas and not even Daniela Melchior escapes – SAPO Mag”>
Starring Liam Neeson, the film is an attempt to modernize the classic detective stories of the 1930s and 1940s, with the iconography of stars like Humphrey Bogart and the influence of directors like Alfred Hitchcock. Not undoing the sophistication of photography and art direction, none of these appropriations are made with great subtlety or ingenuity. credible. As if that were not enough, the lethargic and inapplied Liam Neeson, also on autopilot, leaves much to be desired. Despite an evident excess of characters, some recurring faces manage to revive interest: the mysterious Diane Kruger and Jessica Lange sport the cigarette case and the somber veil of the “femme fatale”, while the refined Adewale Akinnuoje-Agbaje provides some comic relief. Moving away from these, “Marlowe” plays a sleepy game of mobsters, pimps, drug dealers and assassins, driven by the one-dimensional Danny Huston and Alan Cumming . For greater disenchantment of eyes and ears, Daniela Melchior receives material that is too precarious to work with. planned release date. Despite everything, it’s worth hoping for them to regain strength on the spot and take the wheel. Telling a more memorable story than “Marlowe” isn’t asking too much…