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Maybe try not to curse, as it's rather inelegant (not that I care much for religious reasons).

In reality, Blechtrommel, if the English plural word has not become commonly used in Italian, it remains singular even in the plural: for example, "fan" in the plural can also be said as "fans" in Italian because it has become a common word, while "fake" remains "fake" in the plural because the word has not yet been accepted by written language in Italian. So, roughly speaking, I think "track" remains "track" and not "tracks."

Actually, the review has, more or less, the same number of lines as the others in the "series" (where brevity is one of the rules I've imposed on myself: I reserve the right to be wordy elsewhere ;-D). While I was writing it, I realized that the central part (the one that is usually "emotional") was getting too long with each edit, and not being able to condense it, I decided to leave to the "unsaid" what I couldn't summarize in the "said": after all, comments are meant to fill the gaps in reviews, so I encourage you to contribute (at least the "emotional" part since, in the last paragraph, I do mention the "technical" things concisely as usual). Take care, everyone.

Let's not exaggerate, Teen: Italian cinema has managed to stay on par with French cinema, even surpassing it in certain cases, for three decades ('40-'70), but since the '80s the French have consistently left us in their dust, and our cinema has been saved by very few exceptional cases. It's worth mentioning that we probably hit rock bottom in the '80s; in recent years, some interesting directors have emerged (Garrone, Sorrentino, Crialese), alongside the remaining old legends (like Scola) and directors who, if better directed (like Salvatores and Tornatore), could also have something to say. Overall, beyond the Frejus, cinema is still in good health (both in terms of resources and ideas), while here it has been in quarantine for quite some time. P.S. Too many 1-star ratings for this film in this review: let's hope at least that they all come from users who have actually seen the film.

I repeat what I said elsewhere when discussing another single in HR on commercial radio: on vacation, between a crossword puzzle on the beach and a slice of swordfish with citrus for dinner, listening to the single "Mondo" was definitely enjoyable. Honestly, I can understand why some people might not like it, but it’s less so when technical discussions (?) are made where you can say anything about it except that it's musically illiterate (the fact that he uses his knowledge to create 90% mediocre stuff is another matter), especially when these (technical discussions) are given weight for some groups/artists while others (more in the debaserian mood) are let slide joyfully. Anyway, I certainly don't want to defend Cremonini (who has a crutch behind him as big as a house and is also kind of off-putting to me; the same can be said for Cherubini), but I don't feel like giving less than a 3 to the collection given that there are definitely pleasant tunes (besides "Mondo" itself) in it.

If one were to consider all the quirks of various directors, it would never end (though it depends: it's obvious that if someone were a neo-Nazi, for example, the discussion would change): what matters to me is art, and Rohmer was pure cinema in its "wild" state: watch this or "Love in the Afternoon," and then let me know.

I wouldn't joke too much about Rohmer.

Thank you all for stopping by.

@Trilobita: I don’t think I’ve downplayed it but rather placed it in its rightful (still high) position in the history of comics (in fact, I believe I’ve even re-evaluated it compared to the criticisms from a few years ago :-D): I recommend reading it. @Iside: Panta Rei ;-) Thank you both.

Thank you to all those present. Hello