panapp

Very generic review, from a weekly supplement to a newspaper, that says absolutely nothing new that hasn't been repeated the same way for the past twenty years.

Seen for the first time just a few days ago. I laughed heartily and cried uncontrollably, I couldn't believe it. In the end, the dead flower in the vagabond's hand replaced by the living flower brought to him by the florist tightened my heart in a way that moves me just to think about it. Thank you for this beautiful, informative, and heartfelt review; I've also written a few lines about it in my Letterboxd diary, particularly highlighting the perfect construction of the film's structure: ‎‘City Lights’ review by Mario Pasqualini • Letterboxd

In my opinion, they are honest, technically skilled musicians, even if not particularly brilliant, but still dignified. They don’t fit my tastes, but I don’t see anything wrong with listening to them and being their fan.

For the author: if you are not a native Italian speaker, congratulations for tackling convoluted hypothetical periods. If you are a native Italian speaker, please limit convoluted sentences because there is no need for them; they only weigh down the reading.
The review is interesting in its theme and intentions.

Listen, you can say whatever you want, but John Hughes’ scripts are often exceptional, and yes, this is also true for the first two "Home Alone" films. In particular, the first one contains one of the best lines in the history of cinema: "See, Kevin, you’re what the French call 'les incompétents'." It’s genius and you won’t be able to change my mind.
About the film: I’ve watched the first one and this second one, well, dozens of times each. I admit that the first is more original, but the second might be more successful due to the perfect exploitation of typical slapstick comedy gags, the truly well-executed sentimental focus on the pigeon lady, which is significant and moving (in the first one, the old man with the shovel was much less important, only serving the plot, not the moral), and finally the acting performances of the character actors portraying the hotel staff, prominently, of course, the ever-celebrated Tim Curry.
The two "Home Alone" films by Columbus are like the two "Harry Potter" films by Columbus: essential childhood films, perfect for the target audience, generational icons, aged wonderfully, and re-watching them as adults reveals unexpected nuances, the second one even better than the first, precursors of a series that would later change staff and go downhill.

I saw it yesterday; I liked it but it didn’t blow me away, and I would have liked to love it much more because it has numerous undeniable merits in directing, acting, and cinematography, as well as the not trivial fact of providing an image of Japan that is as far from a postcard as possible (even if, in some ways, it is still postcard-like, but within acceptable levels). Finally, it is engaging and interesting despite the lack of a plot: that’s no small feat. I remained a bit cold, but I recognize that it's no small accomplishment.
A little note: the toilets are not in the most various places in Tokyo; on the contrary, they are all in the same city of Shibuya (State of Japan, Tokyo Prefecture, Shibuya City; there is no "city of Tokyo") and they are reachable on foot within a few minutes from each other. They are not ordinary toilets, but a specific architectural project designed for the parks in Shibuya.

Out of curiosity, what is the review you published in a newspaper?

Perhaps @[Conteverde] expressed himself with a bit too much fervor, but I’m still on his side. With one difference: I really appreciated the film, yes, but only until the last five minutes, when those two final twists (the hospital scene and the underwater scene) contradict the very essence of the film up to that point. If, as rightly stated, Godzilla is an emotion, and this film confirms it because the monster appears when the protagonist loses hope and disappears when the protagonist regains hope, then either the hospital scene or the underwater one needs to go because they are contradictory; if both are removed, even better, because they are unnecessary for the narrative and the message of the film, and the first one exists solely because director Yamazaki tends to linger too much in sentimentality (his Doraemon films are unwatchable for me) and the second because it was meant to provide a cliffhanger for the sequel. But both scenes are unnecessary: Shikishima had already learned the lesson of life, and the sequel will be a problem for the next screenwriters. If instead the scenes are useful, then Godzilla is not an emotion but just an ugly monster that kills people senselessly, which is even worse.

Argomento meglio qui: ‎‘Godzilla Minus One’ review by Mario Pasqualini • Letterboxd

I love this album, with which I really started to appreciate Billie Eilish as an artist and as a person. I know it by heart, I sing it in the car, it made me feel emotional with "My Future," cry with "Halley's Comet," and pay attention to the lyrics in the diptych "Getting Older" and "Happier than Ever" (both with the album title as a sung line). Billie, I love you.

Re-evaluated in hindsight: at the time it meant nothing to me, now it seems like a really good mix of various tests in different genres with some results that are unremarkable and others that are excellent.