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@Lewis, damn, you’re not sleeping are you? You were at Interzona last night too. Damn it, you know I’m a fan, you could have told me so we could have crossed paths with our ugly mugs. Concert extraordinaire, pour moi, and I'm happy if you do the review.@ Super: I expect you to review a band I know, I'm starting to feel an inferiority complex @ B. I would have given you those 40 minutes if you hadn't repeatedly betrayed me with the Superuomo (of whom, by the way, at this point, I’d also like to know the other half :-)

In fact, a piece like "Brassneck" is something I've never written, and I probably won't be able to anymore. Above all, I've almost never managed to create such a beautiful outro, one of my favorites from that era, which I would listen to five times in a row just for that, even though it’s shamelessly Smithsian. "Please go, whenever you prefer to... just don't forget you ever knew me." However, the rest of the album isn't a 5. I know it might be heresy, but I prefer it to "George Best"; it seems more incisive to me.

We trust, we trust... the first one was a bit disappointing for me too, but she is absolutely fantastic.

Hi Melissa, indeed it’s been a while since we crossed paths, but I’ve been absent for more than a month myself. I hope that someone/something fulfills your need for affection and that you don’t have to turn to chocolate, like I’ve been doing lately :-)

I quote Sadeyes: for me too, CRX is among the top 5 Italian albums of the '90s.

P.S.: I meant to say that most of the people who have posted here are also the ones who know how to write reviews. Which is it, a cult?:-)

Marò Don, sorry for the frustration, but luckily there’s Your review in hp! Sometimes it’s just infuriating. Damn, can’t all the idiots who send in pointless reviews come here, read Yours, and learn how it’s done? Aside from a few people who came here to post, of course. Why don’t they write in decent Italian, talk about a lesser-known album, use some smart points of comparison? Anyway, sorry again...

Yes, ultimately a really great album, even if not all the songs are of the same level. I prefer it to Will Oldham, who really annoyed me at a concert about ten years ago.

I can't give this one a 5 because "Hai paura" is superior, although a bit out of nostalgia and a bit for the importance it had in Italian rock, it's close. It contains at least half a dozen great songs, besides the ones mentioned, I love "Posso avere il Tuo deserto." I agree with Rock'n'rollsuicide, since we clashed recently, that "Non è per sempre," due to its overly poppy vein, is underrated; it has great tracks too, such as, in addition to those mentioned, "Superenalotto" and "Oceano di gomma." @Lewis, wow! A sacred nothing among the three albums of the '90s! A Massimo Volume, right?

Good evening, you didn't think I wasn't waiting for you, did you? :-). I really liked the film, quite a bit actually. It’s not a masterpiece, but for the cinematic year, I’d give it a solid five. It seems to me that Fusi, as the Captain says, splits hairs too much. The script appears to have a lot of holes, but that doesn’t seem like a big problem to me. I mean, it seems that, much like in Fargo, the Coen brothers continue to ponder the role of chance, how fate is already marked, and the futile efforts to change one's life through money. If, at first glance, Fusi's comparison with "Romanzo Criminale" seems illogical, in reality, it’s a good benchmark. Rome is the story, the violence of the Banda della Magliana has a very clear purpose—not money, but power. Bardem represents America; there’s no story, just violence. Perhaps a suitable and current comparison is "There Will Be Blood." There too, the engine of the action, beyond greed, is violence itself. In both cases, we find the protagonists in the middle of their journey, but we don’t know where they come from (in "There Will Be Blood," at one point a hypothesis about the past is put forth, then dismissed). There’s no family, which means no roots. All the efforts, both of Bardem and Day-Lewis, which seem to be made for money, lead to nothing. Like much of 21st-century American cinema, the thesis that there was an era of innocence that has since been lost is rejected (some say with the bomb on Hiroshima, others with the assassination of JFK). America has never been innocent.