Bisius

I've got it! Now I'm listening to it :)

"Hung From The Moon" is very beautiful; the rest might be a bit too drawn out and excessive. 3.5

We love man and his flavor, ladies and gentlemen, their eternal spinning like lamb in the kebab...

Great, I agree!

I love it to death. And David loved it to death too.

Happy Ferragosto to you too! ;)

4) Immediately following the escape from the bar: the two are once again chased by criminals and must take refuge in a forest. Meanwhile, the pursuers begin to shoot wildly: the gunfire is heard even before they get out of the car, then the bullets fly and hit points far from their targets. Two other things to note: the characteristic metallic "ping" that is heard when shooting at a pile of dirt (remember, this is a sound effect only detectable when metal hits metal!) and the continuity where Tomba loses the keys to the handcuffs he had used to secure the Hunziker to himself ("Damn... I left the keys in the phone!" I mean, instead of the SIM?). 5) Tomba locks the Hunziker in his apartment: a sort of scuffle ensues in which Albertone receives a generous smack to the balls. But the avant-garde flash couldn't be missing, and here Tomba keeps reciting shamelessly from a script, mostly open on a table. &) Tomba gets stopped for driving while on the phone by a handful of traffic officers: up to this point, everything seems normal, but since when do traffic officers carry submachine guns??? 7) The cream of the crop of the crop of the crop. The finale. Tomba and the Hunziker on a boat, on the run again: the usual fucking hitman shows up trying to eliminate the Ram. Four shots ring out: at the first two, the Hunziker begins to scream, Tomba shows no reaction; then two more. At the third shot, Tomba finally turns around! At the fourth, he is hit in the chest and executes a magnificent somersault into the water (all without blood!). The criminal gang reappears shooting at the water: the water remains still. Our hero reappears shortly after with a gigantic wound ON HIS ARM. He does a couple of strokes with one arm, then he doesn't give a damn and swims with both arms (brilliant). Then there's the rest, but I don't want to reveal more, or it would take too long. I’ll just preview the great final line from Orso Maria Guerrini (better known as Mr. Birra Moretti), who in one go devours all the possible vowels. In conclusion: MASTERPIECE!

Cult scenes of the movie. 1) Car chase between mobsters and Hunziker. Michelina's acting is unbeatable. The car eventually plummets down a cliff, STRAIGHT. The hitmen lean over the guardrail, and somehow, the car starts rolling down, with the passenger seat EMPTY (very clearly visible!). To top it all off, there's an explosion from the windows: the hood remains intact. 2) Tomba bursts into the barracks of the crooks, starts shooting wildly with a submachine gun, yelling like a fascist in Moscow, then stops shooting but not yelling. He then approaches his dead friend, monotonously saying: "I should have been the one... I should have been the one!" In the same scene, a white van attempts to run him over, moving at the enviable speed of 2 km/h: Tomba starts shooting again (preceded by a bellowing "HERE I AM!", of course), the guys inside die but the windshield, riddled with bullets, remains intact. And, wonderfully, just before the vehicle crashes into a row of barrels in the background, you can perfectly see the brake light turning on (but who braked, if they are dead, and why?). 3) The bar scene: simply the best. Tomba shoots three times at the man trying to kill Hunziker and hits him with just one: the boss bursts in with his guys, armed with submachine-guns, and they all start shooting joyfully together, of course wildly (self-evident) and destroying the counter and cash register. Hunziker runs away, passing in front of a window; you can clearly see the mark of a bullet piercing the spot of the glass where her figure is, but she, undisturbed, keeps running. And here comes pure genius: Tomba steps back, gun in hand, and crashes into the door frame, knocking it down. Where is the unparalleled intellect? The scene is SPEEDING UP: those in editing have lost frames along the way and, at the moment of impact, Albertone's movements are disjointed. (to be continued...)

I don't know... there are some decent tracks in here, especially in the moments when they really push the accelerator ("Ride The Comet," "Web Of Lies"). But it's just far too long, with too many stretched-out tracks for no reason, and a few annoying fillers. One CD, instead of two, would have been enough and perhaps even too much... I liked pieces like "Age Of Shadows," "The Earth Extinction," and "Beneath The Waves" very little. In the end, it seems like the usual pompous and grandiloquent prog work that doesn't say much. Great review, anyway!

The fact that scaruffi (deliberately in lowercase) gave 4/10 to this fucking masterpiece makes me fervently hope for the possibility of a future divine selection (P.S. I love John Zorn and anything he does).