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Season 1: beautiful. 2-7 = total, absolute. 8-10 = excellent. 11 = still good. 12-13 = bearable. 14-15 = noticeable decline. 16-20 = goodbye (I didn't even watch the last ones).

Hilarious Brooksian parody of the Western, inferior to the subsequent masterpieces "Frankenstein Jr." and "Silent Movie," still remains among the most successful works of the director. A brilliant ending featuring the massive brawl in the studios and the showdown outside the cinema. Exceptional also: "Fermi tutti, al primo movimento faccio fuori il negro," said by the same Black sheriff. A fun and at times brilliant parody.

8

7.5

8

6.5

Between the incredibly courageous and the naive is the desire to develop a concept even based on the "Divina Commedia," not to mention the singing style of Jimmy Spitaleri (gorgeous voice, anyway, one of the most beautiful in the Italian scene), so emphatic and theatrical that it oscillates between the epic and the unintentional comedic. Despite everything, "Inferno" remains one of my favorite albums within the vast panorama of '70s Italian prog, musically inspired (dominated by the omnipresent keyboards of Olivieri, there is no guitarist on this record) and engaging, with good lyrics that introduce new and more "modern" types of sinners in the infernal circles ("Drug dealers," "Racists," etc.). Ambitious, perhaps even too much, but a great album; after years, it still hasn't worn me out.

I would have been very happy if, as a child, they had played this record in church during Sunday morning masses back in the days of the never-too-terrible catechism; in that context, this record would have been amazing, a hit, because musically speaking, the tracks are quite good, with their melodic and elegant rock/beat/pop framed by gospel-soul quirks. And "Il sesto giorno" is a beautiful song, for example. But... the lyrics... It’s not, of course, the religious theme itself that’s the problem, but how it’s approached: the lyrics aim to express the moral decay of man with (continuous references, the 9 minutes of "Crepuscolo"...) to Jesus as a light of hope and salvation, resulting in preachy statements that contain all the naive pacifism with echoes of the '60s and all the hypocritical Catholic moralism, with a simplistic and naive portrayal of themes that is almost endearing. Spitaleri's beautiful voice, which has this very theatrical and pronounced singing style, amplifies it all. There are things here that are just unbearable to listen to, and I reiterate, musically speaking, the songs are nice pieces too, what a shame. Long live Geggiù! "Inferno," from the following year, which also has its limits, is on another level.

I have no trouble imagining how shocking and innovative this album must have been in the landscape of Italian pop music back in 1971, given the way certain themes are addressed in the lyrics and the interpretations and vocal style of an extraordinary singer like Martini, so intense and visceral, unlike anything that had ever been heard in Italy before. It's a truly poignant album, perhaps the one that most reveals the gash in her soul, which, apart from her talent, allowed her to deliver such extraordinary interpretations. And then that voice... The songwriters behind her are more inspired than ever (right, Claudiò?) the covers (like "Into the White" by Stevens) are excellent, and then there are two tracks like the title track and "Lacrime di marzo," which are heart-wrenching. "Lacrime di marzo" is her "Fruit Tree," no doubt about it. A spine-tingling album for me.

This 1989 work marked his return to the scene after a (forced) withdrawal-exile, driven by "Almeno tu nell'universo," definitely not one of my favorites by Mimì. The album is absolutely enjoyable and of good quality but undoubtedly inferior to the glories of the '70s and even to the subsequent "La mia razza." Some of the best songs were written for him by Enzo Gragnaniello ("Donna" and "Strade che non si inventeranno mai da sole," where we find a wonderful guitar solo by Gragnaniello himself), in my opinion, his best songwriter from the '89-'94 period. Other nice tracks include "Amori," "Notturno," and the retrieval of "Agapimù," a song from 1974 (already on "E' proprio come vivere") which here clearly becomes my favorite of the album in question, beautiful. A dignified and pleasant work overall, with a few scattered gems here and there.

Another very beautiful album, the second album by Mia Martini, propelled by the evergreen "Piccolo uomo," which rightfully stands among her most successful songs. Perhaps it doesn't reach the dramatic intensity of her debut nor the pure melodic beauty of "Il giorno dopo," but it remains, for me, only slightly inferior. What elevates this album is especially "Valsinha," the song that Martini seemed to prefer among all those she performed, giving it a truly spine-tingling interpretation (the piece, of course, by Buarque/de Moraes, is a masterpiece in any form it takes). Other splendid songs include "Donna sola," "Questo amore vero," "Amanti," "Tu che sei sempre tu" (chills here too, for lyrics, melody, interpretation, vocal talent), and the cover of "Border Song" by Elton John, with new Italian lyrics that become another foreshadowing of her fate.

Released in 1992, it is the last album of unreleased tracks by Mimì (the next one will be entirely composed of covers). An album, once again, valid, even though not all the songs are particularly striking. Like every one of her albums, "Lacrime" has at least a couple of beautiful songs that enhance it, such as the lovely "Il mio Oriente" and the splendid "Scenne l'argiento," a piece written for her by the usual Gragnaniello, who with this tribal-ethnic-Neapolitan dance elevates the desire and passion for the "World-Ethnic" sounds of the singer. A beautiful song, perhaps even among my favorites by Mimì, a true gem that, being the last piece of "Lacrime," is also her final unreleased track. The title track and "Versilia" are also nice, while the rest is pleasant. Even Martini, however, cannot make me appreciate a piece written by Antonacci like "Il fiume dei profumi."

A beautiful album of pop and light Italian music, Martini was an extraordinary voice and performer, also quite versatile, and here she is accompanied by great writers (I think of the very early Venditti in "Ma quale amore" or Maurizio Piccoli and the Fabrizio brothers, not to mention Califano and Baldan Bembo) not to mention the excellent choice of (two) covers, which stand out among the highlights of the album, especially "Signora" by Serrat—I adore it, one of Martini's most successful interpretations, a song that has perfectly become hers. Songs like "Bolero," "Minuetto," "La malattia," "Dove il cielo va a finire," or "Picnic" (i.e., "Your Song" by Elton John) to mention the other peaks of the album make "Il giorno dopo" one of the most intense and beautiful Italian pop albums I have ever listened to. A voice and a performer that gives you chills.

3/5 for the film, very nice, 10/5 for Foster, moving, poignant, wonderful, her best performance, with all due respect to "The Accused," "The Silence of the Lambs," etc. Fabulous. It's basically thanks to her that the film is a well-made product.

2001. The alien mutant being and collaborator of the Men in Black once known as Michael Jackson releases his last studio album. Thank goodness it was the last because it’s one of the most abominable albums I’ve ever listened to. I found it ugly even when I was 14 and I was a huge fan of his. MaddòlaMonnezza. The. Monnezza.

Now, I know that Michele on debaser is kind of the antichrist, but say what you want, he has made some good music too, and "Off the Wall" remains a beautiful album of pop-dance-r&b-funky-disco, black music for everyone, yes, but of excellent quality. For me, this is his most beautiful album, it’s the prodigy boy who finally grows up, it’s the consecration and definitive artistic maturity of this young son of Motown who here reaches his highest point; "Off the Wall" is the culmination of the first part of his career, from the Jackson 5 onwards, the end of his musically most spontaneous and visceral period. And it’s a lively, brilliant, inspired album, perfect for moving your hips, played, sung, and produced really well, you can feel the weight of people like Quincy Jones and authors like Rod Temperton ("Rock With You", title track, and "Burn This Disco Out", great tracks) the friend, source of inspiration, and another former child prodigy, Stefanino Meraviglia, and Jackson himself, in great shape as a songwriter, both on his own ("Don't Stop 'Til You Get Enough") and together with bassist Louis Johnson ("Get on the Floor", another gem). Macca also participates, not at his best. Then "She's Out of My Life" is overly sultry and unnecessarily heavy in the interpretation, but apart from that, this album flows like a fairy tale. After this, there will be "Thriller", there will be the phase of the "King of Pop", there will be less "carnal" sounds, more plastic and synthetic, more "fake," in short, it will be something else.

Always skipped the greatest hits, a record of absolutely mediocre unreleased tracks, except for 2-3 songs in a sea of crap. This had started almost a decade ago now.

7

8

7

From here on, the disaster. The transformation of MJ into a pale alien-human shapeshifter is now definitively complete and "the Jones era" has come to an end. The humanoid decides to update his music, modernizing his style by blending it with trends and genres that were prominent at the time as novelties (Hip-Pop inserts and so on). Alright, Prince did the same in the '90s, for example, but what the pale x-file manages to create is a hodgepodge of stuff thrown together. "Dangerous" is a muddled album, with a lot of really awful tracks, which try too hard to have groove and engaging rhythms and end up being unbearably boring, ugly, and irritating. Then there's Jackson's now uncontrollable megalomania (which is evident even in the "gigantism" of overly diluted tracks just because) complete with a messianic Redeemer Syndrome (the guy had issues...) that explodes in the most unbearable track on the album: the disingenuous "Heal the World," which opens with a child (AAAAAHHHH) reciting a little part and then continues... I mean, you could fall asleep halfway through. And "Will You be There," which would have been nice if it weren't drowned in redundant sacral choirs and... for God's sake, Michael, take out that little poem at the end, what is that, what the hell are you doing... Anyway, a few moments of brilliance are saved; "In the Closet" and the title track are perhaps the most successful in this stylistic "renewal," and "Keep the Faith" is good too, along with "Who is It" and the dry and delicate "Gone Too Soon." The rest is garbage.

Mann's masterpiece, it's wonderful to see Pacino (here in one of his best performances) and De Niro (brilliant as always) acting together, the meeting of the two at the bar is extraordinary. A great film indeed. Ultimately, a great director and two acting phenomena for the best crime film of the '90s. Awesome.

Great film "Collateral", on par with "Insider" and almost at the level of Mann's two masterpieces: Manhunter and Heat. Excellent Foxx, convincing Cruise (probably his best performance), Mann as usual stunning, beautifully depicting the night of Los Angeles. Tension, adrenaline, class, and excellent technique. Truly a magnificent thriller.

Mann ventures into the epic/historical genre and does so with his usual skill, managing to create a beautiful film. A separate discussion is warranted for the stunning soundtrack, which is a true masterpiece. Then there's a phenomenal Lewis (but that's not news), a wonderful, tight, engaging, and epic final part (20-15 minutes), and finally the breathtaking sets and the excellent direction from the always outstanding Mann. It's a shame that the screenplay ends up focusing too much on a certain love story.

It’s well known that Michael Mann is one of the best directors around. He directed, in 1986 and 1995, two exceptional films, along with a handful of great movies, which includes "Insider" in full measure. An outstanding thriller, masterfully directed and equally well acted by the always excellent Al Pacino, and a satisfying Russell Crowe. The ending is a mix between a happy ending and a bittersweet one, making it a very, very beautiful film.

Michael Mann's masterpiece, on par with "Heat". Based on Harris's novel "Red Dragon" (the first book of the "Lecter trilogy"). A top-notch thriller masterfully directed by Mann, a master of technique and suspense, featuring a trio of excellent actors (great Cox, the first Hannibal Lecter on the big screen). A grand final showdown set to the tunes of Iron Butterfly. Slightly inferior to "The Silence of the Lambs," but far more beautiful than the remake "Red Dragon."

The masterpiece of the visionary Michel Gondry, and one of the most beautiful films from 2000 to today. A stunning love story told through a dreamlike journey in dreams, in memories. Jim Carrey is superb, perhaps his best performance, Kate Winslet equally exceptional. Wonderful.

Worse than this in the saga is only the 6 in my opinion. A disconnected, confusing, bland film. Truly forgettable.

3 and a half balls.

Today it seems dated, it is a film of its time, yet it remains a splendid film, with many memorable scenes, an amazing soundtrack (Sound of Silence is a masterpiece) and the first great performance by Dustin Hoffman. A great film, fun and always enjoyable to watch again. A classic.

First album of the most blatantly pop-light phase of Campovecchio, a nice, transitional record that doesn’t leave much. In this phase of his career, he would do better with the next three albums, leading up to "Crises," and of course, the works preceding "Platinum" are of a completely different caliber, so this pleasant, dignified little record remains there in a limbo, neither here nor there. The essence of the album lies in the taitoltracche in four parts, three of which are beautiful, classic Campovecchio-style, unmistakable style and guitar sound, a lighter version of compositions from previous years (part III, however, sucks). The rest is nothing bad but also nothing memorable, including the cover of "I Got Rhythm" by Gershwin, in a pleasant version but nothing more.

Enriched by Phil Collins' drumming and with great tracks. 7

I love when an artist decides to do whatever they feel like; in 2-3 moments of the work, the meaning of life is explained. 9

The album of beautiful little songs from Campovecchio (I know that "Le canzonette belle di Campovecchio" sounds like a compilation of popular tracks from an Italian village festival), where he demonstrates that he has found the definitive solution regarding writing pop songs that perform well in the charts without compromising his artistic dignity, as other #illegalsongs did that same year, for example... The main example is "Moonlight Shadows," a practically perfect little song; pleasant, beautiful melody, "elegant" pace, the Oldfield mark is also felt here, I've always liked it and Reilly's voice (now a staunch supporter of Michele since '79-'80 more or less), quite lovely, is the extra touch, as on "Foreign Affair." I also appreciate Anderson's contribution, which bears good fruit, while the revival (what was Chappo doing in 1983? Does anyone know?) of Chapman on "Shadow of the Wall" has never convinced me, the piece is a bit of a kitsch. Obviously, the album has the same structure as the previous one, so it opens with the 20 minutes of the title track, very enjoyable, as always, but definitely less impactful than "Taurus II" on the previous album. On "Crises," it's the little songs that work best in my taste.

One of the last hurrahs from Michele, one of his last albums to be truly worthwhile. I adored it years ago, but even now I can't help but find the atmospheres and sounds of the album fascinating and immersive. Campovecchio combines ancient-primordial suggestions with modern-electronic sonorities, all permeated by clean, crystalline melodies that, at its best moments, are truly stunning. After all these years, I still get emotional with tracks like "Magellan," "Lament for Atlantis," or "Crystal Clear." The sound is incredibly clean; guitar, synthesizers, piano—everything sounds like a glass of fresh water. This is an ultra-relaxing album, to be listened to while being gently rocked, without too much effort; the mood is truly soothing, even if within these deeply relaxing atmospheres, I’ve always sensed a vaguely unsettling something, who knows why, sometimes they induce anxiety. And, at times, there are moments in this Campovecchian "new age" that are rather boring, teetering on the edge of drowsiness, I have to admit. The album is beautiful, with some splendid moments and others less so; when listened to while lying down, comfortable, in a moment of relaxation, even the boring tracks take on a meaning, and the album works well as chamomile tea—it's not insignificant. Beautiful.