Io Ho Il Pene Banned

a brutal film, at the time compared to A Clockwork Orange, the scene of Hoffman at the wheel with the Irish Orange gang (I've renamed them that because they remind me of Kubrick's four in terms of wickedness) giving him a friendly sign to overtake, and Hoffman almost crashes—it's one of the coldest moments I remember about the cruel nature of humanity, not to mention the portrayal the director gives of women. Immortal, one of the top 3-4 masterpieces of this great iconoclastic director.

For me, the 2 faces of revenge with Brando is even better than this, mind you, Sam the butcher remains a legend, but in my opinion, he's made at least 4 - 5 better films than this. 3.5 is more than sufficient.

saved on C/documents heheheheh

More than the words in Troisi, it's the attitude that makes the difference, the attitude and a certain laziness and inertia at heart. In Minà's interview with Benigni in 1982, he didn't say a damn thing, yet he delivered 25 minutes of legendary television, leaving everyone present in fits of laughter, and they didn't even know why. It was all unscripted, all improvised, times were different.

The starting point is Hitchcock's desire to "reconstruct" Grace Kelly, which is very evident, but the glamour and fairytale of the diva are clearly unrepeatable; therefore, the misogyny that creeps into this film, as in "Psycho," is a consequence of the removal of Ingrid Bergman and Grace Kelly.

But Bad Guy isn’t by Kim Ki-duk?? Anyway, also beautiful is Mr. Vengeance, Sympathy for Mr. Vengeance, the other one of the 3 revenge films by Park. My ratings: Old Boy 9.5/10, Mr. Vengeance 8/10, Lady Vengeance 6.5/10.

5 all my life, the most epic and moving anthem to incest I have ever seen

sharp stipe-tto you have with a double-edged blade do you think you’ll c-c-c-c-catch it

After 8½, admiration for Fellini was almost unanimous in Italy, then his imagination became even more unrestrained and his gaze sharper and darker, and his poetry turned antilyrical, with crooked and visionary films like Satyricon, Roma, Giulietta degli Spiriti, Casanova, or even the lesser works of his last 15 years of life serving as relentless metaphors for the behaviors of the little Italy, in the midst of fellinian "decadence." The salons, the press, and the public began to be irritated by his baroque aesthetics and the disenchanted look he cast upon that very world that had once praised him, and most started to drift away from him. It was precisely at this moment that Fellini savored the "joyful irresponsibility" (his own words) of being truly free, disregarding the expectations of certain circles. Indeed, he arrived from being an "exile" in his homeland to his final years filled with disputes with producers, at one point even wanting to emigrate to the States to work, only to be once again hypocritically lauded at his funeral. 3.5 for Ginger and Fred.

bhhauabahua exhilarating the comment by Antonino from Syracuse, someone who understands cinema... this film is the definitive war movie, after this there will be no more war films, great master Malick, 4 films in 30 years of career, but all precious gems.