omahaceleb

Copertino, with a O.

Wow, how much time has passed since these types of reviews. After about ten years, I pick up this album again, take a look on the deb to see if my favorite hunk of meat has ever talked about it, and look at that beautiful page. How much time has passed... Anyway, after Los Sound and the self-titled album, this completes the trilogy of their must-have albums. Gorgeous. Not like your B-side, @[Bartleboom], but we’re almost there.

Beyond the more or less accurate scientific content, there are two things that disturb me about the film. The first is the necessity of over-explaining at all costs, which plagues many of these directors eager to create blockbuster meltdowns that dance between epic and astrophysics. Going beyond the film's subject, if every five minutes you have to perform some elaborate double somersault to explain what you've just shown me, it's clear that you don't have that great script in hand, dear director. The other problem for me is this somewhat American attitude that wants to treat every so-called "great" narrative with the timeless categories of exodus and the promised land, clogging everything up with this ever-present pioneer family ethics from the West or the Puritans of the Mayflower, which has become a bit tiresome. I mean, in the end, on the space station where people have moved, kids are playing baseball, because what's important is that humanity, even if on the brink of the abyss, remains American.

I saw the trailer and a segment on some news channel. The movie doesn't inspire me, quite the opposite. But what I noticed is that they tried to make Cortellesi look unattractive, or at least scruffy, let’s say, but they didn’t succeed. Because even in this character, she remains an exaggeratedly attractive woman.

I'm listening, intrigued by the review. The cover of Ghost Town, brr... babba bia, turned out really bad. Spellbound without the energetic and edgy guitar sounds weak. Psychokiller and other tracks come off better, but overall it seems to me that there's nothing memorable. I don't know, even a four seems exaggerated to me. But then again, I've never liked DD, so why do I have them in my headphones? Who knows, mysteries of the deb.

Beautiful page, seriously. The character is instantly likable because in his own way he's a looser, actually quite a competitive loser – or the classic wrong man at the right time, if you prefer. Now, to be honest, I hope there's no Abraham Plan to colonize the pages of debaser with the biographies of Paolo Vallesi, Massimo Di Cataldo, Alessandro Canino, and other glories of the nineties.

Nice review, lector, well done as usual. Beyond my personal fondness for the character, I've never been able to stand them, and I agree with those who say they find them plastic and artificial. I'm not sure if I want to give them any more chances, but maybe during the intermission of this Udinese - Lecce I'll give it a try...

Thank you very much, now I will diligently check the cinema websites of Northern Gargano to find out where it will be screened. But is it just me who thinks that Leonardo Di Caprio is getting a bit tiresome? He seems like a journeyman who can only make the same two or three angry faces and nothing more. In the 2000s (the Revolutionary Road period, to be clear), I hoped for some evolution or maturity from him, matching the proposals for roles more suited to a "mature man." But it seems to me that he has always remained halfway across the stream. Or is it just my impression?

@lector, have you ever listened to the archeological work of Nu Genea from 1970s Naples called "Napoli Segreta"? Well, for me, it's all beautiful stuff I've never heard before; for you, perhaps it's an opportunity to revisit pieces from your very Neapolitan youth.

Dear reader, what a wonderful review that I mentally associate with the film by Sibilia that I watched some time ago about DJ Erry. What can I say, D'Angelo is, much to my chagrin, a soundtrack of my childhood, since everyone - and I mean everyone - in my IACP building had the cassettes of Forza Campione, Nu jeans e na majetta, and other titles that, thank God, time has made me forget (from the pearly fog of memories emerge Gianni Celeste, Carmelo Zappulla, then little else). I haven't listened to this, but from my few outings in Nino's territory post-haircut, it has always seemed to me that his world music was quite overrated. I mean, everything feels too simple and reliable. Sometimes it seems (does it seem?) to borrow things taken from elsewhere.