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La Diaria

La Diaria is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Agustín Acevedo Kanopa.

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Rating Title | Year Author Quote
6/10
Creed III (2023) Agustín Acevedo Kanopa Creed has to definitely become Apollo and survive this transformation in which his ex-friend is much more like Rocky. Thus, destroying the past and rebuilding from it seems to be something that closes not only Creed's arc, but also Rocky's.
Posted Apr 25, 2023  Edit critic review
6/10
Smile (2022) Agustín Acevedo Kanopa Smile shows itself as a strange mixture of goldsmithing and cheap jewelry: the more unconscious it is of its own message and the further it is from giving its monsters a total shape (physical or metaphorical), the closer it is to saying something real.
Posted Apr 25, 2023  Edit critic review
8/10
John Wick: Chapter 4 (2023) Agustín Acevedo Kanopa The whole arc, with its excesses and ridiculousness, ends up closing –but above all, it seems to condense– not only the leit motifs of the saga, but almost everything that has been choreographically action cinema of the last 20 years.
Posted Apr 25, 2023  Edit critic review
7.5/10
Wheel of Fortune and Fantasy (2021) Agustín Acevedo Kanopa The strength of The Wheel of Fortune and Fantasy lies in the point of connection and at the same time disconnection between that individualist philosophical project and that other in which the individual is more erased.
Posted Feb 27, 2023  Edit critic review
5/10
Little Joe (2019) Agustín Acevedo Kanopa Little Joe isn't emotional or even tacky enough in its convictions and twists to be fun —like a lot of B-movie sci-fi movies—nor is it as elevated and complex as Upstream Color (Shane Carruth, 2013)
Posted Feb 27, 2023  Edit critic review
5/10
Holy Spider (2022) Agustín Acevedo Kanopa (...) the plot generates intrigues that, after a short time, are revealed as mere fireworks, if not gross manipulation of the footage (and which generates problematically contradictory comments about the corruption of the Iranian judicial system).
Posted Feb 27, 2023  Edit critic review
4/10
Luckiest Girl Alive (2022) Agustín Acevedo Kanopa Seen as a clarifying film about the silences that usually surround abuse or as a shooter elegy –whichever it is, affirmative capitalism is the one that ends up triumphant– what remains of Luckiest girl alive is the idea of ​​something uncomfortably bland.
Posted Nov 05, 2022  Edit critic review
8/10
Great Freedom (2021) Agustín Acevedo Kanopa Meise performs all the signature movements of Almodóvar, Wong Kar Wai, Reynaldo Arenas or Pedro Lemebel adding an extra delay, as in a tragic tai-chi of Hanekian discipline.
Posted Oct 30, 2022  Edit critic review
8/10
Oslo, August 31st (2011) Agustín Acevedo Kanopa In films that are different in style, Joachim Trier shares with Claude Sautet this idea of ​​filming life, a life, in which in the end we add and subtract, to arrive at a barely approximate idea of ​​whether it was worth living or not.
Posted Oct 30, 2022  Edit critic review
8/10
The Wolf House (2018) Agustín Acevedo Kanopa in The Wolf House the volumetric and the pictorial are governed more by emotional, magical or shamanic rules than merely coincident. Their interrelation is more expressive than geometric or conceptual.
Posted Oct 30, 2022  Edit critic review
6/10
Crimes of the Future (2022) Agustín Acevedo Kanopa To mark a work as a requiem is equivalent to burying an artist, but with Cronenberg one knows that the limits between the dead and the living, between the rotten and the germinal, are much more porous.
Posted Oct 30, 2022  Edit critic review
7/10
You Cannot Kill David Arquette (2020) Agustín Acevedo Kanopa What is most impressive about You Cannot Kill David Arquette is not the physicality of the matter, but rather the emotional and mental. The directors have the strange ability to make everything that should cause embarrassment become authentic and exciting
Posted Oct 30, 2022  Edit critic review
1/10
Blonde (2022) Agustín Acevedo Kanopa The only redeeming thing about it is that with films like these one becomes more feminist: there it is, disassembled, everything that has been said about the male gaze, the politics of bodies and about re-victimization, in a dark and necrophiliac show .
Posted Oct 30, 2022  Edit critic review
3.5/5
Spencer (2021) Agustín Acevedo Kanopa Stewart's personification is more authentic than what a legion of imitators of Lady Di could have provided, according to the same principle by which a painting by Emil Nolde, more than faithfully reproducing a sunset, speaks about the truth of the light.
Posted Apr 14, 2022  Edit critic review
4.5/5
Drive My Car (2021) Agustín Acevedo Kanopa In times when there is a particular insistence on the explosiveness of emotions, when lukewarmness is criticized as a lack of affective (or political) commitment, Drive my Car is not only a good film, but an important one.
Posted Apr 14, 2022  Edit critic review
4/5
Red Moon Tide (2020) Agustín Acevedo Kanopa This glorious point of Lúa vermella is having been able to film the elusive sensation, so great that it cannot be perceived in its full magnitude, of the end of times. To make mythology tactile, only with a set of filters and a brilliant camera pulse
Posted Mar 30, 2022  Edit critic review
3.5/5
Shiva Baby (2020) Agustín Acevedo Kanopa (...) Shiva Baby is definitely that: a horror film with shame turned into its magmatic center; one of those nightmares where we find ourselves naked in front of a bunch of people, but as stretched out as it is condensed into 76 minutes of despair.
Posted Mar 30, 2022  Edit critic review
3/5
Cruella (2021) Agustín Acevedo Kanopa The best way to enjoy and even understand Cruella is to see it as a punk opera, in which what moves the needle are not so much the musical segments but the dresses on display.
Posted Mar 30, 2022  Edit critic review
3.5/5
First Cow (2019) Agustín Acevedo Kanopa In a world in which all social contracts seem to be dynamited, seeing two men in a movie who respect and care for each other even though they have different interests (far from envy, ambition, love or homoeroticism) is a great discovery
Posted Mar 30, 2022  Edit critic review
3.5/5
Another Round (2020) Agustín Acevedo Kanopa (...) Thus, beyond the authenticity in Mikkelsen's performance, one always feels the thin and malevolent threads of Vintenberg, that sly smile of an old testament's God who subjects his children to various challenges.
Posted Mar 30, 2022  Edit critic review
2.5/5
Ghosting Gloria (2021) Agustín Acevedo Kanopa Ghosting gloria is self-aware of the conventions to which he resorts, but it does not seem to go on the parody side: rather, what prevails is the desire to take these elements that usually appear in romantic comedies and exaggerate them.
Posted Mar 30, 2022  Edit critic review
3.5/5
Dune (2021) Agustín Acevedo Kanopa Duna works sometimes like a strange abstract opera in which we perceive more the intensities than the representation of the events, and sometimes not only do we not know what part of the story we are in, but what is concretely happening.
Posted Mar 30, 2022  Edit critic review
2.5/5
The Lost Daughter (2021) Agustín Acevedo Kanopa There is an exaggerated underlining of these images that at times makes them lose their freshness a bit, almost as if we have Maggie Gyllenhal pinching us on the shoulder and saying See? Did you understand? There!
Posted Mar 30, 2022  Edit critic review
3.5/5
State Funeral (2019) Agustín Acevedo Kanopa Loznitsa redoubles reality because not only does he reincorporate real images (with impeccable colorization and sound editing work), but he orders and edits them as the person in charge of filming that state funeral would have edited them.
Posted Mar 30, 2022  Edit critic review
1/5
Parallel Mothers (2021) Agustín Acevedo Kanopa The big problem with Parallel Mothers is not that it mixes a lot of subplots that don't quite fit together, but rather that the candor that makes Almodóvar "Almodóvar" never materializes in that disembedding.
Posted Mar 30, 2022  Edit critic review
4/5
Licorice Pizza (2021) Agustín Acevedo Kanopa (Once again, Paul Thomas Anderson manages to make films that make us feel that talking about them is like photographing the moon: we see it at night and it seems majestic, but translating it on photographic paper makes it just a milky and elusive drop.
Posted Mar 30, 2022  Edit critic review
2/5
Belfast (2021) Agustín Acevedo Kanopa (...)The problem is not the unreal way this antebellum is portrayed, but rather that this construction liquefies any notion of scale. Everything shows a set condition, as if we were, more than in a neighborhood, in Kenneth Branagh's dollhouse.
Posted Mar 30, 2022  Edit critic review
7/10
My Mother (2015) Agustín Acevedo Kanopa Moretti's typical games are there, not with the effusiveness of previous works but still being able to intersperse situations in which memory, past and imagination merge, with no hallways in between.
Posted Jan 09, 2021  Edit critic review
3/10
Icarus (2017) Agustín Acevedo Kanopa Again and again, the film shifts its center, its premise and even its aesthetics, like a beautiful bicycle with patched wheels that only prays to reach the goal. [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
8.5/10
The Square (2017) Agustín Acevedo Kanopa (...) Östlund makes the extension of performativity something that ends up dislodging the meaning, which pierces the artistic itself, until it reaches the Social. [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
8.5/10
Summer 1993 (2017) Agustín Acevedo Kanopa the most immediate reference is Cría Cuervos . And the thing is that Carla Simón made Laia Artigas his own Ana Torrent, through the weight of a secret, a pain and a resentment encapsulated in the black cell of his eyes. [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
8.5/10
The Florida Project (2017) Agustín Acevedo Kanopa The Florida Project manages to surpass Tangerine by displaying an even broader social frieze. And all the characters, even the most insignificant, have their two or three seconds of dignity [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
5/10
The Insult (2017) Agustín Acevedo Kanopa Every little scene can be understood or anticipated with just 20 seconds of shooting. Everything is there for a reason, everything goes by a single line of didactic tone that ends up being irritating [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
5.5/10
The Sharks (2019) Agustín Acevedo Kanopa If in indie cinema the composition of a place were similar to entering a strange beach house (a favorite setting for these types of films), The sharks would feel as if we had stayed on the entrance porch, smelling the hydrangeas [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
6/10
Piranhas (2019) Agustín Acevedo Kanopa Piranhas attends a moral pixelation in which, beneath Nicola's charisma and community spirit, many times we find nothing, simply a glitch, a hole filled with hunger. [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
7/10
I'm Thinking of Ending Things (2020) Agustín Acevedo Kanopa On a performative level, the film is a fascinating device, especially with regard to Jessie Buckley, who is capable of being disassembled in multiple Lucys just by the angle of a smile or a slight hunch of the shoulders [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
5/10
Mank (2020) Agustín Acevedo Kanopa Mank's main problem is the extent to which all the backstories and subplots end up dying before they are born, conjugating as a tangle that does not fully fit into the narrative [Full review in Spanish]
Posted Jan 09, 2021  Edit critic review
3/10
Rebecca (2020) Agustín Acevedo Kanopa In this dynamic, Hitchcock himself has something similar to Rebecca. If every remake is a way to revive that first love, fat Alfred also appears spectrally in each shot, reminding us how good the first version was
Posted Nov 11, 2020  Edit critic review
5.5/10
Matthias & Maxime (2019) Agustín Acevedo Kanopa Situations and emotions are dilated and the characters do not have greater emotional vectors, so different from those of other Dolan's films [Full review in Spanish]
Posted Sep 14, 2020  Edit critic review
6.5/10
Atlantics (2019) Agustín Acevedo Kanopa The film would end up being just another genre-bending experiment if it wasn't for the documentary undercurrent that manifests all along its duration, or by how it finds in this documentary style an authentically fantastic edge [Full review in Spanish]
Posted Aug 19, 2020  Edit critic review
7.5/10
Long Day's Journey Into Night (2018) Agustín Acevedo Kanopa Long Day's journey into Night is Tarkovski's The Mirror with a noir twist: the resolution of the crime is focused in the interior of a detective that goes on unlocking and illuminating corners of his own psychical interiority [Full review in spanish]
Posted Aug 19, 2020  Edit critic review
8/10
Just Don't Think I'll Scream (2019) Agustín Acevedo Kanopa Beyond the impeccable editing , the video essay is a great ode to the extreme close-up: the giallo's colorful terror, the anxious bressonian hands, the animals and the objects both destroyed and carefully handled. [Full review in Spanish]
Posted Aug 19, 2020  Edit critic review
3/10
Once There Was Brasilia (2017) Agustín Acevedo Kanopa If White out, Black in worked as an astounding social metaphor covered by a deceiving science fiction layer, Once there was Brasilia is a big attempt of science fiction with a weak layer of social metaphor [Full review in spanish]
Posted Aug 19, 2020  Edit critic review
5.5/10
Family Romance, LLC (2019) Agustín Acevedo Kanopa The problem with Family Romance LLC is that in the same measure it takes its imagery from soap operas it ends up becoming one of them [Full review in spanish]
Posted Aug 13, 2020  Edit critic review
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