pi-airot

A personality to sell for Loudness! Someone once said they became a phenomenon out of sheer curiosity to see a Japanese metal band. For me, the incredibly strong riff of "Show me the way" would be enough to prove not only their worth, but also how ahead of their time they were. As for Akira and his bandmates, I've always been a huge fan...

I'm (re)discovering it these days, thanks to my favorite radio station which surprisingly played "Vegetables" one evening (I haven't been able to get it out of my head for days). Wilson was surely more a victim of his fragility, his solitude (in the Beatles at least Lennon and McCartney could rely on each other, along with George Martin) and his inventions (the extraordinary modular method that allowed him to condense 90 hours of recording into "Good Vibrations" turned out to be a beast difficult to tame) than of competition with the Beatles. However, Smiley Smile becomes a more intimate and focused album, especially when compared to the Smile sessions. Minimal and precious, it offers a world, from the beaches of California to the early Marc Bolan with Tyrannosaurus Rex.

I give five stars to this review and operate on the long wave of enthusiasm. I discovered this band last week when the radio played "Maid in Heaven." I had to pull over and Shazam it since I didn't know them at all. Now, it’s been a week that I keep listening to this album, and I realize it has its flaws, but you’re right: it’s a breath of fresh air. Slightly off-topic: the radio that played them is called Radio We, broadcasting from Gallarate, featuring fantastic and absolutely non-obvious music. It’s practically the perfect radio, so much so that, despite the excellent work of the speakers and the good audience feedback, the owners will close it on June 30. We live in a country of rabbits.

I had missed it. So, it's a nice film, lovely in its pacing, in the actors' performances, in the characters, in showing things rather than telling them, and, above all, in its great sincerity. I'm not giving it the highest rating for two reasons: the "cinephile" inserts (what a drag with this cinema-about-cinema thing) and the narrative structure which is a bit too similar to Pan's Labyrinth (perhaps less desperate).

While not knowing how to evaluate this work, there remains a great freshness and some of Phil's best rock poetry... Then there’s "Look what the wind just blew in" and we are already faced with a lively and creative hard rock like few others. However, there are too many inaccuracies in the review: Irish mother, Brazilian father. Philomela and grandmother Sarah (the name of Phil's daughter as well) have played too important a role in his life to be overlooked.

Oh my god, what hives these guys used to give me! Of course, my skin reaction had no reason behind it (other than the fact that back then I was super into metal). Today, every now and then my favorite radio station plays "Ordinary Day"... I can see myself in middle school, but I still can't bring myself to like them. The review, on the other hand, is very nice.

Seen at a friend's house, it put me in a bit of a depression - and this speaks in favor of the film, as it manages to develop the necessary empathy. That said, I'm not sure what rating to give it... among other things: the initial premise and the main character reminded me a lot of a wonderful novel by Robert Silverberg, "Thorns" (off the top of my head, I couldn't tell you the title in Italian), which tells the story of a telepathic vampire of emotions, as well as a media mogul of the future, who like a sort of Maria De Filippi to the nth degree enjoys bringing together - in a style reminiscent of Uomini & Donne - desperate human cases; in the novel, he brings together a girl who has attempted suicide because she has donated all her eggs and can no longer have children despite feeling like a mother to hundreds of kids, with an astronaut who, abducted by aliens, has undergone a complete reconstruction of his body according to their idea of perfection. I think this film took its starting idea from here (also because I recognize certain descriptions).

I love this movie. Just like that.

Beautiful review, heart and critical gaze in a precious balance. I'm sorry to be a contrarian, but the film just didn't resonate with me, almost instinctively. In hindsight, I understood why, and it's a matter of social context. I knew the setting would be "aristocratic," and that's fine. However, I had the strong impression that the film smugly depicted how Elio and his family dominate a world that submissively adores them, losing its own identity (example: what do we really know about Oliver?). Compounded by some irritating scenes (example 2: the lady who walks through the kitchen while the servants prepare the tortelli and happily grabs and bites into a raw one), I found it a classist film, which didn't spark the empathy that, rightly, you also deemed necessary to appreciate it. Until next time, and sorry for the long-windedness.

Still blacksploitation? I'd rather have Blackula and Pam Grier.