Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

tsimshotsui Un monstruo de mil cabezas is a compact film that is thrilling from start to finish and where every minute counts. It is a perfect use of film as a movement without hammering down its goal. Sonia Bonet, played fantastically by Jana Raluy, is a woman desperate and left without choices and in a now-or-never kind of moment, she proceeds to accomplish her goal whatever it takes. And her reasons are impossible not to sympathise with. It is perfectly paced, going from one location to the other while holding one's breath, and the emotional impact is strong.

Oslo Jargo (Bartok Kinski) *** This review may contain spoilers ****Plot analyzed* A Monster with a Thousand Heads (2015) may find extreme resonance with the decent people who have had to deal with the intimidating web of useless bureaucracy that entangles most, if not all, governments or corporations. All bureaucracies tend to put real people at the wayside, concentrating on extending their profit margin or influence. They are virtual laws onto themselves. In fact, all corporations have a "bean counter" (a person involved in financial decisions, and who is usually reluctant to spend any money or pay out to those in need.) in their departments.A Monster with a Thousand Heads opens up with a dark room and an ailing person. I did not read the synopsis of the film, thus it was a mystery to me what was going on and quite interesting to watch how the film commenced. I did not know if it was a documentary or a drama. An ambulance is called and a family wakes up with evident stress upon their person. It turns out that a wife has been taking care of her infirm husband. The ambulance technician, or some caseworker, tells her that he needs immediate care.She attempts to go to the corporate headquarters of a medical insurance to speak with a doctor in charge of her case, and she waits, and waits, and no one seems to really care. Finally, she takes matters into her own hands, grabbing the annoying phone secretary and asking who is the man in charge of her case. With her son, who is a punk rocker (he has a 1980's haircut, close-cropped in front, with a long tail in back, think Dave Dictor from the punk rock band MDC and he's a fun character and an accessory to his mother's "crime"), she uses a gun to find those involved with the decisions of denying her husband the necessary aid he needs to stay alive. Someone at the private recreation club does get shot while trying to wrest the gun from the mother and they all are on the lam (running away from the law). They travel through the city, intimidating more corporate lawyers or their smug accomplices. Most of which are at private recreation clubs, or privately guarded expensive houses.The film itself was short, clocking in at around one hour and ten minutes, but still, it's a nice little statement of anarchy against the rich and powerful corporations that deny us our lives. It was filmed in Mexico, so it's nice to see an independent foreign film of some substance. Music Box Films put it out, and they do some lovely independent films of all types."Power is the chance to impose your will within a social context, even when opposed and regardless of the integrity of that chance.Max Weber (German sociologist)

Red_Identity I will say that this was a thoroughly entertaining flick, but there were various problems throughout. From a character perspective, they were well-written and although short, the film's themes and ideas come across clearly. However, some of the cinematography is really distracting and instead of feeling like it was deliberate, it just comes across very strangely. Maybe it was intentional, but I found it to be lacking. However, that's as far as the flaws go. The performances are pretty good and the film's pacing is well-maintained through. It doesn't rush through things but it also takes its time. This is a solid film that is definitely recommended.

David Ferguson Greetings again from the darkness. Instances of the little guy fighting mightily against a bureaucratic monolith are featured often in cinema, so it's helpful to have an auteur like director Rodrigo Pla serving up his vision … in this case, a story from writer Laura Santullo.In just the few opening scenes we quickly gain an understanding that this is an emotional story, and not one determined to spell out all details through intricate dialogue. Instead the lighting and camera focus on Sonia (Jana Raluy) as she tries to comfort her husband as he moans in pain (her face relaying that feeling we've all had as a loved one suffers so).Next we see a determined and desperate Sonia … with teenage son Dario (Sebastian Aguirre Boeda) in tow … escalating her battle against the doctors, insurance company and pharmaceutical company that have seemingly conspired to prevent her husband from receiving the treatment he needs. Sadly, we easily see ourselves sliding into Sonia's shoes as she pursues the proper treatment for her husband – blackmail, kidnapping and assault laws be damned! Her fight against a corrupt and rigged system never gets easier, even after she uncovers documented proof that doctors are incentivized for high rejection rates. In other words, profits are priority over healing and treatment. Though set in Mexico, this personal desperation has been experienced by citizens of most every country.Mr. Pla's expertise as a filmmaker is evident throughout. The use of a running courtroom narrative as a backdrop adds dimension to the otherwise minimal use of dialogue. Additionally, the camera work is stellar … especially in an early parking garage scene where we witness the first confrontation through the windshield of another car (assisted by that vehicle's headlights). It's yet another example of how emotional responses outweigh the verbal here, and why this story of fighting bureaucratic red tape goes beyond many others.