The Trespasser

A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in "The Trespasser," Brazilian helmer Beto Brant's disappointing follow-up to his well-received "Belly Up" (1997) and "Friendly Fire" (1998). Elliptical storytelling style dissipates all suspense.

With:
With: Marco Ricca, Alexandre Borges, Paulo Miklos, Malu Mader, Mariana Ximenes.

A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema jury prize at Sundance 2002, but it’s doubtful that “Trespasser” will move far beyond global fest circuit.

Based on a novel by Marcal Aquino, who co-wrote screenplay adaptation with Brant and Renato Ciasca, drama revolves around aftermath of a contract killing. Two Sao Paolo entrepreneurs (Marco Ricca, Alexandre Borges) opt to cover up their less-than-legal dealings by hiring a sleazy hit man (Paulo Miklos) to murder their squeaky-clean partner in a thriving construction business. Unfortunately, the hit man hangs around long after the hit. When he’s not busy intimidating the entrepreneurs and bullying his way into their business, he’s romancing his victim’s wild and beautiful daughter. Miklos — resembling a younger, sweatier and just plain creepier Harry Dean Stanton — grabs top acting honors by striking an effective balance between comic bluster and icy menace.

The Trespasser

Brazil

Production: A Drama Filmes production. Produced by Renato Ciasca, Bianca Villar. Directed by Beto Brant. Screenplay, Brant, Marcal Aquino,Renato Ciasca, based on the novel by Aquino.

Crew: Camera (color), Toca Seabra; editors, Manga Campion, Willen Dias; art director, Yukio Sato; costume designer, Juliana Prysthon. Reviewed at Sundance Film Festival (World Cinema), Jan. 17, 2002. Running time: 97 MIN.

With: With: Marco Ricca, Alexandre Borges, Paulo Miklos, Malu Mader, Mariana Ximenes.

More Film

  • I Love You, Daddy

    Louis C.K.'s 'I Love You, Daddy' Leaks Online After Being Pulled From Theatrical Release

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • Elvis Costello Liverpool

    With a 'Film Stars' Song in Contention, Rock Star Elvis Costello Reflects on Moonlighting for the Movies

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • Jennifer Lawrence

    Luca Guadagnino Directing Jennifer Lawrence in 'Burial Rites' (EXCLUSIVE)

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • Star Wars: The Last Jedi

    The Strangest, Swankiest and Most Expensive 'Star Wars: The Last Jedi' Merchandise

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • Howard Gottfried

    Howard Gottfried, 'Network' Producer, Dies at 94

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • Jim Broadbent Doctor Dolittle

    Jim Broadbent Joins Robert Downey Jr. in Universal's 'Voyage of Doctor Dolittle' (EXCLUSIVE)

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

  • A woman poses for a selfie

    Five Key Questions About Saudi Arabia’s Decision to Reintroduce Movie Theaters

    A potentially gripping sociopolitical thriller is undercut and eventually overwhelmed by empty stylistic flourishes in “The Trespasser,” Brazilian helmer Beto Brant’s disappointing follow-up to his well-received “Belly Up” (1997) and “Friendly Fire” (1998). Elliptical storytelling style dissipates all suspense, and abrupt ironic-twist ending is neither dramatically persuasive nor emotionally satisfying. Pic copped Latin America Cinema […]

More From Our Brands

Access exclusive content