Bowman

DeRank : 0,00
DeAge™ : 6647 days • Here since 28 march 2008
Enzo Jannacci Ci vuole orecchio
Voto:
Adorable Jannacci...
Lucio Battisti Amore e non amore
Voto:
he is one of the greatest of all time
Roxy Music Viva!
Voto:
But the model singer on the cover isn't she Brian Eno's sister?
Elio e le Storie Tese Not Unpreviously Unreleased'nt
Voto:
it's really time to put an end to the supposed genius of Elio e le zappe tese, by the way, even zappa after 10 minutes is more boring than a recent stones record.
Sergio Leone Per Qualche Dollaro In Più
Voto:
Great great cinema!!
James Cameron Avatar
Voto:
I didn't think I would spark such a discussion. I love science fiction movies, but even a Close Encounters of the Third Kind from Spielberg in my youth or the usual Kubrick or even Ufo-shado have something that keeps you glued, despite the poor special effects - back then they were analog. This is video game trash, not cinema, I'm sorry, but that's my opinion on many films from across the ocean in recent years.
Caparezza Le Dimensioni Del Mio Caos
Voto:
so much empty talk for a dry, vulgar, and despicable chansonnier, with 5 cm of chest and the bitterness of someone who has always woken up to defeat. vain and violent lyrics, prurient and infantile in their populism, that can only appeal to Sunday intellectuals and stuffed communards.
Walter Hill Supernova
Voto:
and above all a future that looms in dark shades, made of soulless women like silicone gin-androids, botox, liposuction, prosthetic clitorises, and more and more replicants, so many replicants of themselves, especially politicians, immortal gerontocrats, un-retireable, super-vitaminized, pumped and regenerated like the negative protagonist of Supernova. And if everything came from the stars, with human wickedness, if in the stars there is the love that moves the heavens, then to put it frankly with the poet: "may just judgment fall from the stars" Purgatorio, canto VI, 34
Walter Hill Supernova
Voto:
beautiful film... it is shameful how many cerebroless individuals attack our national Rivoli without offering valid arguments, and, what’s even more grave, without having seen the film. It is a small masterpiece; the cosmos represented by Hill is an expression of the human subconscious, the fear of the other, of the unknown, and it fuels this with dark atmospheres, high-tension sequences, claustrophobic scenarios: it is within this that the characters of “Supernova” are forced to operate, fight, wander. The game of citations could last forever, invoking lofty films like “2001,” “Saturn 3” or entire cinematic productions stemming from the visionary film tradition of the 60s-70s, but perhaps it is more fitting to enjoy Hill's film without too many references to the past. Especially since, given the circumstances, we will need to be careful of the future.