Io Ho Il Pene Banned

Barbareschi even disavowed the film, a sign that it really hit hard.

Buttgereit is a master, just like Deodato, masters of the o-scenè; they can certainly make you puke, but certain things they have shown only they and a few others.

"Then, regarding the fact that the film has been on TV many times, this is true, but I don't think that it should be classified as the most commercial for that reason." Of course, I didn't mean to say that at all; on the contrary, films like these are welcome on our failing television networks.

it's not, however, the masterpiece of David; *Dai*, Inseparabili, Videodrome, *Madame Butterfly*, even *Il pasto nudo*, are a step above. Narrowing it down further, I’d say Inseparabili and Videodrome are the peaks. Anyway, *The Fly* is a nice film, definitely the most famous of Cronenberg and the one that has obviously been aired the most by local networks.

happypippo the ending with a touch of hope you say?? for me it’s pitch black, but that dance in the middle of that mess doesn’t it represent the blindest indifference towards violence?? that’s the message it seems to me.

saving private ryan was a beautiful and good propaganda film of the united states government, it made me laugh when the nazis fell dead without making a sound while when a marine died there were horror screams and blood everywhere ROTFL, it's not a serious way to make films come on, on the other hand tom jerk hanks and steven f*cking spielberg are certainly not new to this kind of servile bowing, true independent cinematic art is something else

also the mask of the demon zion, also the whip and the body, also the slacker avant la lettre "chain reaction," also "the red mark of madness (very rare)." In short, a great other than the nonsense that NIBILLILLO says.

Angry Dogs is not the only film by Mario Bava worth watching, let's not kid ourselves.

Anyway, it's not that I want to come across as a fanatical Bertolucci supporter when I'm not; to put it simply, for me, not even 10 Bertolucci can compare to a Visconti.

happy, I won’t give you a rating because it includes everything, even your judgment. I won't give a score, even though I find this an immortal film. Brando tells his own story?? the present? No, Brando narrates his past, and can you say it’s the truth?? Or that it’s just a blurred imagination, nostalgia? After all, he speaks of his childhood, not certainly of his 740, punctuated by the sound of the harmonica, the quintessential nostalgic instrument, recounting the past with so much abandon, even with a hint of regret, but then harsh and hard with his family; he digs into the past to suppress a non-existent present?? Think carefully and don’t be so superficial in giving ratings and irrevocable judgments, come on, he speaks of his mother, of his father. I meant all the rest if you don’t mind; this point in the film is fundamental, the silence about the present, what one is, not even mentioning names. For me, it’s a key knot of the film.