Core-a-core

No matter where you're from in Italy, don't you have it right outside your door too? Sicilian, Calabrian, Neapolitan, Apulian from the Brenta, African, Chinese... but I've never heard of such a m.poletti who went to shout his dissent in the face of a mafia member... so you just keep it to yourself. Talking doesn't change anything. I think of the laughs Il_Paolo has watching how worked up you get :)

I missed that one about the tax evader; it sounds like a joke. Anyway, you overlook a few things. 1) As a bank, you should limit yourself to commenting on a review as you see fit, without offending anyone and definitely without using swear words. You get worked up, but we’re just talking about a little movie by Gigi and Andrea. But excuse me, are you really on such a pedestal that two fools like them and their viewers can bother you so much? You seem a bit like the big imposing director of films to poor Fantozzi & co. 2) Have I ever said that I understand a tax evader or anyone? I just say that certain things have always happened and always will, and no one has ever stopped them, so we coexist with them. If you can’t accept this, it means you’re the type who’s continually getting screwed outside the "circle of great thinkers." 3) This kind of criticism is self-serving; it doesn’t change a thing. You’ve expressed your discontent, but it seems to me that the number of those who support you and those who don’t remains the same. 4) By living your life, you’re not playing anyone else's game; you’re just playing your own while others play theirs. 5) You must be small.

Work and travel. If you don't accept the world you live in, either try to be the artist, or see if there's something better on some neighboring galaxy. It's not just us Italians; it's all of humanity made in a certain way. I see it, and I know what today's world implies. Criticism for the sake of criticism is also a fact, but it stays there, or rather here, on this page. Outside, it's a different story. In my little way, I think and criticize, but then I act accordingly; I don't like being a misfit. I don't have the expressive means to give a consistently grand form to the disgust I feel for certain things. If I don't give it a grand form, I think criticizing is pointless. So I defend myself, but I choose behaviors that are consistent with what reality is. And anyway, long live Gigi and Andrea; fools as they are, at least they made films. Here, we just make chatter.

They suck, but they're there. You can avoid them, let's face it. For me, they're just there, I interact with them. I don't conform, but I try to understand them. If you close yourself off, you stay closed. And today’s world requires relationships galore. Well, anyway, that's a closed chapter for me, very happily. I see that we are all very different and, I repeat, fortunately!

M.Poletti, you live outside of reality. Good for you that you have your preferences, but you cannot forget that what you hate exists, it's a fact, it's real, it was created before you were born, it's part of the life of Italians. 20 million lobotomized Italians have weight at the elections, on the GDP, on the financial laws. That's quite a few. And, unfortunately for you, they exist. That's the way it is.

@M.Poletti: the fake issue could be true or not, but I’ll let it go in a case like this because what is written has its validity. You are also right when you say that the same authors of these works never imagined that nowadays all this philosophy around such productions could emerge. However, the fact remains that they were still constructed as hyperboles of situations that were happening every day back then. Bringing routine behaviors out of the lines may not be appreciated, but it is still a valid exercise. Which, whether you like it or not, has come to constitute a real genre of our cinema. It can be a shame to be denied, or a great passion. Thank goodness, I say. For me, they remain episodes of cinema, number one. I evaluate them based on what they are. A small example: yesterday I expressed my Judgment on the film Down By Law. A full 5 because that’s great cinema. Logically, Acapulco has nothing to do with that stuff. But I evaluate it for what it is within its context. And that makes sense. Otherwise, what are we supposed to talk about? Only musical and cinematic pearls? One last thing, the Greeks and Latins approached the issues of lived experience from both a historical perspective (just think of all the "chroniclers" of the time who exposed the romantic entanglements worthy of the worst Banfi, of their emperors), and from the perspective of comedy. And they had a lot of fun... what can I say, this kind of treatment of reality has always attracted man and cannot, in my opinion, be dismissed a priori.

@M.Poletti: the fake issue could be true or not, but I’ll let it go in a case like this because what is written has its validity. You are also right when you say that the same authors of these works never imagined that nowadays all this philosophy around such productions could emerge. However, the fact remains that they were still constructed as hyperboles of situations that were happening every day back then. Bringing routine behaviors out of the lines may not be appreciated, but it is still a valid exercise. Which, whether you like it or not, has come to constitute a real genre of our cinema. It can be a shame to be denied, or a great passion. Thank goodness, I say. For me, they remain episodes of cinema, number one. I evaluate them based on what they are. A small example: yesterday I expressed my Judgment on the film Down By Law. A full 5 because that’s great cinema. Logically, Acapulco has nothing to do with that stuff. But I evaluate it for what it is within its context. And that makes sense. Otherwise, what are we supposed to talk about? Only musical and cinematic pearls? One last thing, the Greeks and Latins approached the issues of lived experience from both a historical perspective (just think of all the "chroniclers" of the time who exposed the romantic entanglements worthy of the worst Banfi, of their emperors), and from the perspective of comedy. And they had a lot of fun... what can I say, this kind of treatment of reality has always attracted man and cannot, in my opinion, be dismissed a priori.

@M.Poletti: Are there objective evaluation categories to assess a film? If they exist (even just on this site), enlighten me and I’ll reconsider my judgments. But if you want, in the realm of shit cinema, this film is a little gem. Finally, if I’m an idiot, you’re the other.

It's not enough to write them well, fake or not-fake. This time the discussion is too abstract for a film that is genuinely down-to-earth, yet it reaches levels of stupidity that are so ridiculous it made me laugh a lot. The classic film for a desperate moment where a silly joke, or stuff like "...those nice MINERVONI....", or even "testone" and the same Diomede are the peak of the apotheosis of Italian gag-stupidity that is quite amusing. The "cuccaggio" seems secondary as a theme in the film, even though it runs through a good part of it. The frustration and dreams that can’t come true without money. The lower-middle-class of that Italy that gave nothing to its children and the desire of the latter to overdo it. All events, dimensions, and sensations clashing with each other, skillfully staged according to the (stupid but funny) canons mentioned earlier. And then there's the Italian who invents ex/erotic stories... in short, there was a lot to delve into if you wanted to write a complete review of this film. The score for what you wrote rewards the form (which in this comment might be lacking because I'm writing at a terrifying speed) but not the substance. Finally, I tell you that in my opinion, it's the only time the two guys from Bologna hold it together brilliantly from start to finish of a film.

As a judgment, I would rewrite the last paragraph of the review. Regards.