supersoul

I'm sorry, Atanas, but with your comment, you have shown that you are uninformed on the issue and are shooting in the dark, as unfortunately, 90% of Italians do. The Pope should not go into a public square where he has every right to speak like all the dogs and pigs you mention, but rather to a university like La Sapienza, where (we hope) future scientists will be formed. And these (we're talking about 60 professors as well) also have the right to consider him an unwelcome person, especially when he himself stated that the trial for heresy against Galileo Galilei was a good and just thing, who, as you might know, supported the Copernican theory of the Earth's motion relative to the Sun, in contrast to the sacred scriptures. Therefore, if you are now sitting in front of your computer expressing your opinion, you owe it in part to him and not to the popes. In my opinion, those from La Sapienza did not act like fascists; they said that in their house, they have no desire to invite someone who holds dogmas contrary to the evolution of science, that is, to their work and their beliefs. And I agree with them, unless the Pope demonstrates great openness by inviting an atheist scientist like Margherita Hack to speak in the Vatican enclave, just to name one.

mauro 60 says: “...what really happened in the past.” In short, I wasted a ton of money visiting the Mayan archaeological sites (where they explain that the sacrifice ritual was a great honor bestowed even on those who won the pelota, not on the losers) when instead I could have gotten away with 7 euros and had Mel Gibson explain to me with his usual American/Australian nonsense that the typical lone hero, part of the tribe of the good who dance and laugh all day, must face the evil tribe always grumpy with a fierce sneer. It’s all great when we talk about Orzowei or the Predator with Swarzy, but here we’re dealing with the Mayan civilization, with History, and Gibson proves to be too much of a brute to be credible in the sense that mauro60 mentioned.

Regarding John Holmes, take a look at the nice film by young James Cox, "Wonderland," with Val Kilmer as Mr. 30 cm dealing with an even less uplifting and true story of the killing of 4 drug dealers. The real Holmes is that: drugged, gloomy, violent, desperate.

@psycho keep in mind that the screenplay of "Short Cuts" is an adaptation of the short stories by the great Carver, while Magnolia Anderson entirely wrote it himself, perhaps making it a bit lengthy (3 hours). More than "Short Cuts," it reminds me of the ensemble nature of "Nashville" by the same Altman.

I liked Alan Moore's comic, but I liked the Wachowski film quite a bit less. The film is the usual anti-power tirade that mixes Matrix (which already had the imposed fictional reality by power), Orwell, The Phantom of the Opera, and The Count of Monte Cristo. In the comic, V wasn’t a hero interested in becoming the leader of the masses, forcing them to conform to him (the same mask for everyone), but rather a vengeful loner who “opens up” to a desperate sixteen-year-old girl forced into prostitution (in the film, she’s a rather simply a beautiful, older employee). In the end, it seemed to me to be much more preachy than Moore intended it to be. And for me, that was already a limitation.

Anyway, it was precisely in 2007 that the publisher Fanucci reprinted it.

I have issue no. 1292 of Urania in front of me and it's from September 15, 1996.

...who knows if the constitution takes a doggy style or goes for the candle snuffer...

Vitalogy, dear, are you taking it like this? You're the one without a sense of humor... I wonder what the hell it means to divide Dylan into six characters when those characters are then "dressed up" as Dylan, like Blanchett or Gere who seems to mirror the aged Dylan from Pat Garrett and Billy the Kid. So I say, dear Haynes, if you want to fragment Dylan's soul (after asking for his permission like you did), then why do you put the film on the tracks of a fun little game to discover who is who and what this one represents? Why pretend to want to break free from the biographical cliché when you’re wallowing in chronological reconstruction with lyrics and songs? Make up your mind, Haynes, because as you've made this false alternative film, you’re on the tracks of Oliver Stone's Doors. I take this opportunity to confirm my respect for that sfaccimmone of the reviewer.

better at dampening the candle...and get your white tuft iridescent...