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Brazen 2022 Movie Review Poster Trailer Online
The feeling of seeing a clear session of the “classics” shown at the ex-Bandeirantes’ ex-Bandeirantes’ Cine Privé (today it’s just Band, right? ) will attract millions of viewers. Why do Netflix audiences enjoy Attack of the Dogs and Don’t Look Up so much – before anyone comments, two undisputed blockbusters, including in Brazil – but also can’t resist 365 Dias , Dois and something like this here? I don’t think we can explain it with a simple allusion to “guilty pleasure”, no; the average audience sells itself for ordinary stories, far simpler than an in-depth market analysis.
Adapted from the novel “Indecent Virtue” by Nora Roberts – yes, the bestseller that sells millions of copies of things that, apparently, have simple origins – the plot translated by six hands (we will mention the criminals: Edithe Swensen, Suzette Couture and Donald Martin) is a roundup of absolutely every cliché involving mystery thrillers , crime dramas, fifth-rate erotic tales we’ve ever seen, read and heard about. The play is so shallow and vapid that for many moments, from the first scene, we have the impression that everything must have been done on purpose and that it is a parody, from the 1990s.
The name of the girl behind the camera is Monika Mitchell, who, according to imdb, has numerous awards for previous works, in festivals that we have never heard of. Judging by Indecent , well… there’s no way to have any impetus to meet the award-winning director. Everything that is done on stage is, to say the least, poor, reaching embarrassing at various times; is there some masochism in watching something so absurdly depressing like this, and wasting 1 and a half of precious time? Judging by the bad framing, by the home-to-video texture , by the absolute indigence in everything that is cinematographic… look, there it is, it’s a curiosity.
The film takes us through awkward situations, such as the end worthy of a romantic comedy by Meg Ryan after the sadomasochism, the serial killer, the murder of the protagonist’s sister, the same being almost murdered, that something surreal can be born in the middle. of this joke. It’s a set of all rehashed plots , which we predicted each one with at least half an hour, resolutions so shabby and manipulative, and an eternal air of carelessness on the faces of the protagonists, that maybe Monika lacked the timing to realize that there was nothing there to be taken seriously, exactly what is done.
Six months ago, Netflix made Unfathomable Perfection available to its audience, a film filled with the purest unmeasured scoundrels. There, Braden R. Duemmler understood that he was digging into a bogus field and built a ‘absurd-erotic-sci-fi-fiction’ firecracker. What was missing here was to realize that laughter was the best medicine to forward this indigestible salad, and instead of offering the viewer a ready-made joke, it was bad to try to promote seriousness on stage. But with all the scenic elements full of primarism, leaving the material to look like a bad university work, Indecent misses the opportunity to laugh at its complete and unrestrained inability.
I also don’t know if it’s worth going into the merits of how sexist, inappropriate and inexplicable this whole narrative is, as well as old-fashioned and misogynistic. Nothing is well built, we don’t know why Elizabeth chose a double life – especially if she wanted to regain custody of her son. I mean, nothing is built, good or bad, things just happen, and the purpose of each is not discussed. From the protagonist’s absolute lack of emotion when she loses her sister in the next scene to the trust that the delegate places in her, just because she is famous, rich and successful. Look… I’ll tell you, see…
Far from the backbone, the police duo formed by Sam Page and Malachi Weir is the closest thing to a positive aspect of the scene, perhaps because they are always infinitely on the sidelines of everything that should be the main focus of the film. Obviously it doesn’t save the heartburn that Indecente causes after all, nor does it prevent us from lamenting the sad end of Alyssa Milano’s career, but without them perhaps the endless sadness accompanying the production would be even more melancholy. With them… well… the horror remains, but maybe 1% less desperate.