supersoul

Well, as Poletti says, this has nothing to do with cinema, but rather an assembly of magnificent gags supported by the happy artistic marriage that Sonic80 talks about. Personally, (but it's silly to make a ranking) in the cinema (even in this film) I prefer Benigni's performance over Troisi's, who, as a kid, lived 2 km from my home, whereas in a cabaret context, it's the opposite.

Glen Danzig makes me chuckle a bit, maybe because after the Misfits he took himself a little too seriously, with those gloomy poses reminiscent of a descent into hell, but it's a diluted descent with that mishmash of Morrison, hammer blows, and the clanging of chains trying to make gothic blues pieces.
I only have Lucifuge (the superior one) and this one (without the luck of having the vinyl). Every now and then I listen to them, also because these are top-notch musicians, it's just the whole packaging that doesn’t convince me.

As far as I remember, the impasse of the Immediate era was precisely due to the Small Faces demanding unpaid royalties, and maybe someone else met the same fate as this record here. I don't recall Billy Nicholls, but for that label, in addition to the Small Faces, the Nice and the excellent blues band Groundhogs led by Tony McPhee also worked.

@purpulan stop expressing your emotions through curses otherwise they'll prescribe you Prozium here!!! I haven't seen the movie, I can't say anything, except that from the plot it seems like "Fahrenheit 451" with a twist of a lot of beatings and gunfire....

@purpulan what do you mean? That just like Poletti sticks the Simpsons everywhere, I see all films through the lens of a road movie? Hehehe....
Anyway, I wouldn't be too upset about Rutger Hauer; he had his chance with the last great film by Sam Peckinpah, Ostermann Weekend, but I think his target audience is much, much lower than that of other great actors. He shines in films like the one reviewed here.

I would also like to say a couple of words. Like Lewis Tollani, I discovered Nirvana through Bleach, but not thanks to a friend; it was because, at the time, everything that came out of Bruce Pavitt's label was a joy for us. When Nirvana was bought by Geffen's major label in the November market, saving Sub Pop from bankruptcy, it smelled fishy to me. Bleach had been recorded with a budget equal to the current cost of a good 32" LCD screen, while Geffen invested over 100 thousand dollars in the recording of Nevermind. When I bought the vinyl "on trust," I exclaimed: damn! these guys will become famous, but I'm not the wizard Forrest; I believe at least 90% of those who heard the album for the first time back then must have exclaimed the same. The fact is that the reviews from the critics didn’t speak highly of it, and no one, I mean no one of us, had the slightest inkling that it could be a phenomenon that, as Ashanti says, was revolutionary. They seemed like three beaten-down dogs who, more than speaking of revolution, talked a lot of nonsense about deodorants (Teen Spirit is a deodorant brand), and that was enough for us to enjoy it without overthinking. The power of Geffen, which got them airtime on MTV, and word-of-mouth because it was a good record gradually paved the way for the global success of Nevermind and Nirvana, and even now, kids are still enthusiastic about it, saying that it changed their lives, the life of the individual. Do you believe in miracles? Guys, in the end, "it's only rock'n roll but I like it."

Rather than saying "who cares, and who is it?", I would say: "who cares, and what does it have to do with this movie?". Enough with these Simpsons!!!

A rather underrated film that, like Duel, subverts the metaphorical concept of the road as a "salvation" from an oppressive society. Evil is everywhere, in gathering places like motels and rest areas as well as on the road, and there's no salvation because even if you manage to kill its embodiment, it doesn’t mean you’ve destroyed it forever; something remains absorbed within you. Made on a shoestring budget but very well, I remember two scenes that made me smile yet filled me with tension: when the kid at the rest stop eats fries and bites into a severed finger that was in the bag, and when he's overtaken by a car, he waves back to the sweet little kids in the back and suddenly, between their little heads, Hauer’s big head pops up smiling at him. It seems that this year they made a remake, and judging by the cast, I can already imagine the filth that will be produced for the new barbarian invasions.

In my opinion, they anticipated the new wave; the attitude was pure punk, but musically, they had already “softened” (?) in some way with this album. Just listen to how baroque the keyboards are in “Sweden.” I had an absolute blast with “Rattus” and “No more heroes.” And then “Walk on By” is Doorsian to the core, their own “Light my fire.”

...do you notice that I should change my keyboard?