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...but what do you care about pippopippo...live your life ...and you know we don’t care about looking at the records.
TALK ABOUT CINEMA
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let's talk about cinema and make a similar example: "Desperate Hours," filmed in '55 by William Wyler with the contrasting good/bad duo of Bogart and Frederic March, three escaped convicts who burst into a bourgeois home holding the family hostage. Take Cimino's remake in 1990 with Mickey Rourke and Anthony Hopkins—now that is a truly USELESS film, much more action at the expense of character introspection, which makes you REGRET the original. Who knows why that didn't happen with Scorsese... instead of saying you didn't like it, poletti, withdraw those two adjectives: naive and useless, they do not honor those who are passionate about cinema.
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@poletti say whatever you want, it’s not exactly a Scorsese masterpiece, but we’re not even remotely close to the misstep of The Color of Money... There’s where I wanted you: it’s a VOLUNTARILY forced De Niro... let me say that it’s an innocent film to anyone who watches movies without paying attention. Do a rewind and maybe you’ll understand that it’s better to erase that word: “useless”
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Well, the issue of the 1500 shots also depends on budget constraints, not on a choice. The long take requires more money and ...time, given that Welles shot the film in segments and never had the full cast (and funds) at his disposal. An exception (because he miraculously had everyone available) is that scene on the beach between Iago and Othello shot without cuts. The choice of the set in Morocco is motivated by the fact that Welles was simultaneously shooting the film and ...acting in another film: "The Black Rose" by Hathaway.
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I bet that many of those who gave this film a 3 or even less have instead praised Besson's Leon. So let the end of the world in 80 days come.
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and already with that Ficone & Picarra hairstyle... and when he sticks his thumb in the mouth of the lolita Juliette Lewis and gets it sucked... all this wasn’t in the original movie, hehe...
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I appreciate the director's sincere commitment, but I didn't like the film; it puts a lot on the table but delivers little substance. The whirlwind of private matters that intertwine, typical of Altman, feels too foreign to the political narrative and for a good part only inflates the absurd: the little stories of Elijah Wood and Estevez's father, Martin Sheen, for example, seem out of place and I don't understand their purpose. The final speech is also quite didactic.
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Useless film? Poletti, watch out, because Max Cady/De Niro among his many tattoos also has "Vengeance is mine." It's not useless for several reasons: 1) it surpasses the decent original 2) it has exceptional visionary power through signals scattered here and there 3) this time it manages to make you side with the criminal rather than the "seemingly" normal and well-adjusted family 4) there is a magnificent recovery of the original sound commentary (which is a unity with the film) by Bernard Herrmann adapted by Bernstein. A TRUE cinema lover notices these things and will never say it’s a useless film.
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Son, my brotherly advice is this: try to outsmart the system before it outsmarts you, or do you want to work until they abolish/do not abolish the retirement age?
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even former yuppie.... I've been living in Positano since 2000 without doing a damn thing with the money won from a billion-dollar lawsuit against a multinational I worked for two years... just like your hated Rotten...