Diamantino


Attack of the fluffy puppies.

(2018) Comedy Fantasy (Kino Lorber) Carloto Cotta, Cleo Tavares, Anabela Moreira, Magrida Moreira, Carla Maciel, Chico Chapas, Hugo Santos Silva, Joana Barrios, Felipe Vargas, Maria Leite, Manuela Moura Guedes, Djucu Dabo, Leandro Vieira, Vitor Alves daSilva, Abilio Bejinha, Vitor de Almeida, Elisabete Pendeira. Directed by Gabriel Abrantes and Daniel Schmidt

 

Most movies are fairly straightforward. Some, however, are a little bit on the weird side. Still others are just so out in left field that the best thing to do instead of thinking about it too much is to just go with it. Diamantino is one such film. How to describe it? IndieWire critic David Ehrlich described it as a “technicolor glitter bomb of a movie” and that’s as close to a perfect description as we mortals are likely to get.

Diamantino (Cotta) is the world’s best soccer player, leading his Portuguese team into the 2018 World Cup finals. He is a good-hearted, terminally naive but dumb as a rock man. His career is guided by his loving father (Chapas) but also in the picture are his amazingly venal twin sisters (A. Moreira and M. Moreira) who see their lunk of a brother as a never-ending meal ticket and from whom they embezzle cash at a terrifying rate. It has gotten to the point where the Portuguese authorities in the persons of Lucia (Leite) and Aisha (Tavares), a pair of federal agents who also happen to be lesbian lovers.

Diamantino owes his success to being able to eliminate distractions of the crowd and even the other players on the pitch by visualizing the stadium as a field of cotton candy in which giant Pekingese puppies the size of trucks cavort.  When he is fouled in the final seconds of the game and has a chance to tie it up after being awarded a penalty kick, the Portuguese announcers assume that they have the tie in the bag. Inexplicably, the visualization fails and Diamantino misses the kick by a country mile, going from national hero to international disgrace in the blink of an eye. The situation is so unthinkable that his dad has a fatal heart attack.

Stunned by the double blows, Diamantino decides to do something inspiring and adopt a refugee child. The agents recognize the opportunity and insert Aisha as “Rahim,” a young boy from Madagascar. Nobody in the household seems to notice that Rahim is an adult female. The sisters, now freed from the constraints of their father, decide to further exploit their brother by delivering him to Portuguese nationalists who want Portugal out of the EU and use Diamantino as the poster boy for that movement. In addition, a mad scientist (Maciel) working for the Portuguese government is allowed to conduct experiments in an attempt to clone Diamantino and extract the source of his genius which has something to do with combining clownfish DNA with his, consequently causing female breasts to grow above his magnificent pectorals – and it gets weird from there.

Fans of French absurdist Michel Gondry will likely be doing cartwheels in the theater at the sight of this feature for first-time feature directors Abrantes and Schmidt. There is a whimsical, almost fairy tale-like tone to the film that plays like one of those dreams that make no sense at all but make perfect sense while you’re asleep. I couldn’t help but suspect that there is an allegory going on here and there are certainly a lot of salient political points, addressing the refugee crisis, rampant European nationalism, genetic manipulation and the exploitation of sports stars.

Despite the political points this isn’t a political film and the filmmakers tend to address their subjects superficially. This is, after all, a comedy and one suspects that even the filmmakers don’t take the movie too seriously. It is a mishmash of genres, including espionage thrillers, science fiction, fantasy, satire, spoof and sports film. In other words, something for everybody – well, nearly everybody.

The effects are low-budget and look it but the cinematography is strong and the score is really nice, augmenting the mood well. Some are definitely going to find it too radically weird so those who find Monty Python too high-brow might want to give this a miss. For the rest, this is a remarkably entertaining, endearing and occasionally sweet morality play that ranges from laugh-out-loud funny to heart-tugging pathos. Any movie with giant puppies can’t be all bad.

For Florida readers, the film is currently playing only at the MDC Tower Theater on the campus of Miami Dade College so if you want to catch it in a theater, you’ll have to go there. Keep an eye out for it at your local arthouse; otherwise expect it to be available to stream later this year.

REASONS TO SEE: Extremely imaginative from the plot to the effects. A really nice score.
REASONS TO AVOID: May be too whimsical for some.
FAMILY VALUES: There are some sexual references and nudity.
TRIVIAL PURSUIT: The lead character was loosely based on Christiano Ronaldo and the story inspired by a pair of essays by David Foster Wallace.
CRITICAL MASS: As of 6/2/19: Rotten Tomatoes: 88% positive reviews: Metacritic: 77/100.
COMPARISON SHOPPING: The Science of Sleep
FINAL RATING: 7.5/10
NEXT:
Free Trip to Egypt

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Finding Nemo


Finding Nemo

Dude! Have you seen Nemo?

(2003) Animated Feature (Disney) Starring the voices of Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe, Brad Garrett, Allison Janney, Austin Pendleton, Stephen Root, Vicki Lewis, Joe Ranft, Geoffrey Rush, Elizabeth Perkins, Eric Bana, John Ratzenberger. Directed by Andrew Stanton and Lee Unkrich

 

You might think that being a clownfish is all fun and games, but it’s a dangerous ocean out there. Just ask Marlin (Brooks). He had it all — a beautiful home with a view, a loving wife, and a brood of kids on the way.

However, a chance predator takes out nearly everything, leaving Marlin with just one son, Nemo (Gould), and Marlin swears that nothing will happen to Nemo as long as daddy is around.

Time passes, and it’s time for little Nemo to head out to school. However, his overprotective dad has Nemo seeing red, and so the little fish with the half-formed fin ventures out farther than he should — and is caught by a dentist looking for a new addition to his tropical fish collection.

Doggedly, Marlin sets out to bring his boy home. He is aided by Dory (DeGeneres), a loopy bluefish with short-term memory loss that occasionally jeopardizes Marlin’s mission. But the plucky Dory sticks with him, and turns out to be a valuable ally, even with her problems remembering what happened just a few minutes before.

Meanwhile, Nemo is attempting an escape of his own, aided by several denizens of the fish tank, notably the only one among them who had actually lived out in the open ocean, Gill (Willem Dafoe). Marlin must navigate through the ocean’s natural dangers, ranging from a minefield of beautiful (but deadly) jellyfish, to a trio of sharks undergoing a twelve-step program to become, well, friendlier to fish.

The environment created by Pixar is even more enchanting than the undersea world of Disney’s other waterlogged animations, The Little Mermaid and Atlantis, mainly because it seems more real. The sequence with the current-surfing turtles is one of the best Pixar has ever come up with. In many ways, this is the most Disney-esque of the animated features Pixar has done, which, considering that director Andrew Stanton was responsible for A Bug’s Life – quite frankly the weakest Pixar movie to date – is not surprising.

Although Finding Nemo has gotten universally excellent reviews (including from my spouse Da Queen, who quite firmly stated that this is an Animation classic), I found it to be less engaging than the great majority of their films. While I can understand the popularity of the movie (and like DeGeneres, wonder when the inevitable sequel is coming), I just didn’t connect with it.

Albert Brooks has always struck me as kind of a poor man’s Woody Allen (making him, I suppose, a rich man’s Richard Lewis), somewhat neurotic and pessimistic, which suits Marlin well enough, but can get on the nerves over the course of 101 minutes. Dory is the best-drawn (excuse the pun) of the characters here; she is certainly handicapped by her memory problems, but never allows it to get her down. She turns out to be a loyal friend, something Marlin desperately needs.

Don’t get me wrong; the kids are going to love this, and adults will find some of it spectacular at times. Like nearly every Pixar movie, this one has enough subtext (particularly in the humor) to keep the attention of the big kids, and enough eye candy to keep the attention of the smaller kids. It was one of the big winners in the 2003 box office derby, and a big shot-in-the-arm for Disney’s flagging animated feature fortunes (particularly after the dismal performance of Treasure Planet). Pixar next released The Incredibles which even now is my favorite Pixar film ever, superhero geek that I am. You have every reason to see this movie, but be warned that at least for my part, I had a difficult time loving this as much as I have other Pixar movies. Perhaps therein lies my own problem – my expectations. You may want to go into this without any. You may enjoy it more than I did.

If you have kids, expect this to be a staple in your video library – if it isn’t now, there’s a good chance it will be at some point. No kids? You’ll still want to see some of the spectacular underwater scenes anyway and you’ll appreciate DeGeneres’ kooky performance.

WHY RENT THIS: Gorgeous backgrounds and authentic undersea settings. DeGeneres makes Dory one of Pixar’s most memorable characters. Crush and the turtles make one of the most breathtaking segments Pixar’s ever done.

WHY RENT SOMETHING ELSE: Marlin is a bit too neurotic to be an enjoyable lead. Is less compelling than other Pixar classics.

FAMILY MATTERS: Are you kidding? This is Disney…of course it’s perfectly suitable for the entire family!

TRIVIAL PURSUITS: The waiting room in the dentist’s office was modeled after one near the Pixar studios in Emeryville, California.

NOTABLE DVD FEATURES: The special edition DVD, like most Disney home video, is loaded with special features including the animated short Knick Knack which played in the theaters alongside Finding Nemo. There’s also an interactive game, a studio tour of Pixar Studios and a hilarious featurette called “Exploring the Reef” hosted by Jean-Michel Cousteau which purports to be a serious feature about the Great Barrier Reef but Cousteau constantly gets interrupted by characters from the movie.

BOX OFFICE PERFORMANCE: $867.9M on a $94M production budget; the movie was a blockbuster in every sense of the word.

FINAL RATING: 5/10

TOMORROW: We Bought a Zoo