MuffinMan Banned

Oh my god Poletti, you need an eye exam! The extraordinary "Strade Perdute" is the least beautiful of Lynch? Are you feeling okay, my dear? Get yourself checked out as soon as possible.

Dear one, unlike you, I don’t know the "usual suspects." If you want, I can give you some names, but I'm afraid your ignorance/knowledge stops only at those directors that even a 6-year-old child knows (sure, I like Wilder). Anyway, let’s get to it (I might butcher some names): Italians: Bolognini, Ferreri, Scavolini, Antonioni, Pasolini, etc…; foreigners: Bergman, Kieslowski, Kim Ki-duk, Tsukamoto (see also the review above this), Godard, Truffaut, Carné, Tarkovsky (whom you, not understanding anything about cinema, have harshly criticized, and then you talk to me about Gone with the Wind, which doesn’t even kiss the ass of the ugliest Andreij), Polanski, Altman, Bunuel (of whom you, old fool, haven’t even mentioned a single film), Herzog, Kitano (a poet you don’t even know what the hell he has done), and more recent ones like Paul Thomas Anderson, etc…

Dear bubi (since I don't feel like wearing my fingertips out for people like you, I feel a bit polemical), I'll give you a vague hint but if you've seen the aforementioned films you should get it: you don't realize or you notice that there’s an atmosphere that marks all of Kubrick's films (as well as those of others), a certain poetics. No one said there shouldn't be competitions (but preferably not RIGGED).

AH damn Poletti, then tell us what other films (that surely exist) where there's sentimentality but it’s not as visible as you implied, I’m waiting anxiously, or do I have to wait again for you to look it up in some encyclopedia or claim that you won't lower yourself to explain it to us common mortals?

Bartleboom, wise words in your last post, even if regarding the first Tetsuo, I don't think they hold true.

DANY87, everything you're saying is true, but it can be summarized like this: "bleeding-heart rhetoric," especially as performed by good Roberto.

I completely agree with the reviewer; "cunning" and "rhetoric" are the key words for this overrated film, but it’s still watchable. Moreover, Benigni in cinema leaves quite a bit to be desired. He is a brilliant comedian and also a great reader of the Divine Comedy, but let's leave cinema to those who know how to do it.

Yes, and then enough with the review on this two-dollar disc.

an inconceivable being who also makes bad music (there's something redeemable when he was still a negro). "you take the monkey, i'll take the llama, we'll have a party:/ get me a pepsi/ michael is janet, janet is michael/ i'm so confused now/ who is diana?/ he's oxygenated/ his nose is deflated and he thinks he looks good to you/ he thinks he looks good to you/ ike: oh, i'm sorry . . ./ fz: this is supposed to be the part where i . . . name people who are not . . . related in any particular way to . . . michael jackson . . . so . . . oh, let's see now, who could it be . . . uh . . . what's your name . . . ? his name is bob? bob is not the illegitimate son of michael jackson, take it from me . . .

heavy and redundant (like almost all of ELP's works) too much self-serving technicality, they often seem more like exercises for advanced musicians than actual pieces. Never liked them much.