Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Billie Morin This movie feels like it was made purely to piss off people who want good shows

gradyharp Director Carlos Diegues knows how to capture atmosphere with his camera and effects and when that atmosphere is the splendid garish gaudiness of Carnival in Rio de Janeiro there is plenty to entertain the eye. 'Orfeu' as a story, supposedly a re-interpretation of the Orpheus and Eurydice myth updated to current times and set in the slums (favelas) of Rio, is just not there.The title character Orfeu (handsome and talented singer Toni Garrido) does sing and play his guitar, his playing ends the night and serenades the rising of the sun, but here he a quasi-Rap star, beloved by his townsfolk of the hillside favela, and by all the women who come into his view. Eurídice (Patrícia França) enters his life, as she comes to Rio after the death of her parents in the provinces, and the meeting results in instant love. There is violence from the police invasions of the slums, drug lords such as Lucinho (a disastrously misused Murilo Benício who happens to be one of Brazil's biggest stars), female envy from Orfeu's many ex-lovers (Isabel Fillardis, Maria Ceiça), and parental concern from Orfeu's parents Conceição (Zezé Motta) and Inácio (Milton Gonçalves). But the story, or at least a semblance of one, gets buried in all the extravagant production of police raids and the Carnival parades: it just ends without much point - except that there is a reprise of the musical theme from 'Black Orpheus' to carry you back down memory lane.Though the quality of acting is generally substandard by comparison to most great films out of Brazil, the style of acting is supposedly the accepted norm for the popular Brazilian novellas on television. And the sensual presence of Toni Garrido does raise the quality of the movie. But if the art of 'Black Orpheus' or Jean Cocteau's 'Orphee' is what you are expecting, this film will not satisfy. If you are looking for a colorful, splashy extravaganza about Rio during Carnival, here is your ticket! Grady Harp

dfobair Orfeu Negro for the 90's. Complete with laptops, cell phones and automatic weopons in the hillside ghetto of Rio de Jainero. Visually the movie is great. I especially enjoyed the lead actor playing Orfeo, and the actors playing his mother, father and the teen-ghetto artist Michael. Orfeo and Euridice never quite connect in a powerful way. So emotionally the movie didn't move me as strongly as it might have. I did enjoy watching the Carnival and the music in the film is very nice.

canto-3 I liked this movie. It was very well done and the director was awesome. This history can serve of an example to everybody. Sorry for my terrible English, but this movie was very good. The actuation of the actors was great. I recommend it to the lovers.

Doinel-4 Rio de Janeiro in widescreen CinemaScope is quite a sight, that´s for sure, and the carnival parade with the famous escolas de samba (samba schools) do sound great in digital sound. But money (it cost some U$ 7 million, a record for Brazilian standards) and the technology it can buy does not make a good film, especially if it´s a tragic love story, like this one.Two awful leads (Tony Garrido and Patrícia França) play Orfeu and Euridice, who are supposed to be in love, but we just have to take their word for it. Their love, and the movie, takes place in a Rio favela (shanty town), located high up in the hills of the city. It´s a fascinating set (built entirely for the shooting) which stands-in for a fascinating Brazilian inner-world, packed, in real life, with its own special rules and laws which the movie prefers to ignore.As it is, Orfeu shows us a great set, rather than the interesting parallel society it seems to be examining. Walter Salles´ Central Station did a pretty good job at rendering its station with documentary-like accuracy. Orfeu renders its favela with soap opera-like consistency.It´s a pity, because some of the supporting characters almost come to life. Orfeu´s parents, Zezé Motta and Milton Gonçalves, display the respect and dignity their small favela roles demand. Isabel Fillardis also makes an impression, as one of Orfeu´s women who may have had a big break after making the Playboy centerfold. But these are characters who have little screen time, although Brazilian music superstar, Caetano Veloso, does get an overlong and rather embarassing cameo appearance. You can´t miss him. He´s the animatronic-like puppet, playing a guitar on somebody´s roof.Diegues, who made the excellent Bye Bye Brazil, in 1980, seems to be so infatuated with his toys (the movie is technically very good) that he loses it altogether, especially in a story set in the dog days of Brazilian carnival, but totally devoid of the unique atmosphere of the Brazilian carnival. A turkey.