supersoul

DeRank ™: 3,90

DeAge™ : 6939 days • Here since 12 june 2007

Love Contact

The Byrds Sweetheart Of The Rodeo

14 sep 07

Voto:

Does the post-Woodstock era start here? ...but if Woodstock was still to happen in '68?!?

Artanker Convoy Cozy Endings

14 sep 07

Voto:

The reality is that just putting a butt on the cover makes the review visited at least twice as much as that of the Byrds... the power of fur.... (to put it in Maurizio Mosca's words)

Alain Resnais L'anno Scorso A Marienbad

14 sep 07

Voto:

this is a dangerous film to "get your hands on". When you think you’ve understood it, Resnais throws in another element that throws you off... who says she’s married? for me, it could even be her brother... and then mister X is Albertazzi and not his companion M... the ending lends itself to a billion interpretations, including the one where A has no future at all...

The Byrds Sweetheart Of The Rodeo

14 sep 07

Voto:

The Byrds also invented folk-rock when they plugged in the guitars of Mr. Tambourine Man.

Buon Vecchio Charlie Buon Vecchio Charlie

14 sep 07

Voto:

You've shot more bullshit than Richard Benson; giving this album a 5 is like giving a 1 to "In the Court of the Crimson King."

Martin Scorsese Toro Scatenato

13 sep 07

Voto:

First of all, I expressed my opinion which deserves the same consideration as yours, so tone it down; we’re not here to go "fuck him or fight him" like De Niro/La Motta before demolishing the pretty boy... To claim it's the greatest boxing-themed film means you’ve seen at least two or three of them, not just all three hundred, including Fat City.

Martin Scorsese Toro Scatenato

13 sep 07

Voto:

Of course, that it’s the best boxing-themed movie is your opinion and Morandini's. For me, the best remains Fat City by John Huston, if you've seen it.

Elliot Silverstein La Macchina Nera

13 sep 07

Voto:

Certo, invia pure il testo e procederò con la traduzione.

Elliot Silverstein La Macchina Nera

13 sep 07

Voto:

the car itself is the character, no handles, dark windows with no shadow moving inside, the subjective shot from inside the cabin looking out as if the car itself were watching, the girl talks to it as if it were a living being, the shot and reverse shot of the camera in the standoff with the sheriff, the way the car appears as if it were emerging from the depths of the earth, it is an explanation of nature itself that generates gusts of wind making the engine roar at full throttle among the hills... religion and satan have nothing to do with it this time, the director is the one from "A Man Called Horse." In my opinion, you missed a great opportunity to reassess a good film that, as you can see, is associated with nonsense like "The Hellhound."