Darkeve

I return to the fold after years to say that this album has deeply disappointed me. I feel somewhat betrayed by the Bergamasque trio, and it stings. Your review is excellent and the arguments are absolutely understandable, but the question is: after over 20 years of career, do we really need to “understand” the Verdena? Honestly, I don't think so. I've always loved them (also) for those Beatles-esque melodies that get under your skin, but there's no trace of them here. Instead, I hear anonymous songs: some could be b-sides of Endkadenz, others, aside from Luca's devastating drumming, have no reason to exist, other than to create chaos live. I don't understand this self-proclamation as the last bastions of “difficult” rock when they have always written songs accessible to everyone (I mean, they are not the Jesus Lizard, they are the ones from Miami Safari, Luna, Angie, Loniterp, Ho una fissa, etc.). A low passing grade for respect, but they really missed the mark this time.

Zaireeka writing about the Flaming Lips, and I have to return to DeB. Hey everyone, little jerks. I’m listening to them now <3

I found it a clever and tremendously overrated film. It wants to be great Scorsese cinema (mentioned constantly) but remains a superhero movie, nothing more, nothing less. It’s vulgarized great cinema, with a writing style so loaded, emotional, and didactic that it constantly reminds you, "okay, I'm watching a movie," perhaps just when you were getting immersed in the story and the drama of Joker. The writing is mediocre, with considerable script naïveté. In short, it would be a forgettable little film by the next day if it weren't for Phoenix, truly inhuman. Joker is acting, acting, directing, and more acting. They could have put a fixed camera on Phoenix and I would have appreciated it more. I repeat: extraordinary performance, one of the best I have ever seen in my life.

The funniest film by Tarantino and perhaps the one where the presence of superfluous scenes and lack of rhythm is most felt. Let’s be clear, Tarantino doesn’t make bad films and he doesn’t care a toss about the plot. I don’t think this is his most mature movie; it’s definitely his nerdiest, managing to express his poetic vision to the fullest, with a manic reconstruction of that Las Vegas, that cinema, but also of commercials, TV series, music, etc. I haven’t laughed like this since the opening dialogue of Reservoir Dogs, but at the same time, I found some things too exaggerated, almost nonsensical (you remember the hood scene in Django? Here that tone is repeated continuously, even in what should be the dramatic moment of the film). The Hollywood icons of that time are too caricatured, displayed and mimicked like in a cabaret show (Bruce Lee above all). The finale is very touching, transforming the work into a sort of post-modern fairy tale (and here you realize that the “once upon a time” is not a homage to Leone), rewriting a real and brutal story with a spectacular happy ending. It seems to say that cinema is always there to save us. There are so many beautiful things in this film, but also many that had me grimacing. What’s certain is that three hours with Tarantino fly by, filled with absolute gems, inhuman performances (here DiCaprio has an even wider range of nuances than in The Wolf of Wall Street), and can’t-miss scenes (even the “secondary” ones: the car ride with California Dreamin’ in the background is extraordinary). P.S. It’s not entirely true that for the first time Tarantino offers touching emotions; forget the ending of Kill Bill, when Beatrix, set out to kill, suddenly finds herself being a mother to a daughter she thought was dead.

Absolute cult.

Definitely intriguing and provocative film, which represents the entire poetics (and life) of the director thrown onto the canvas. More than his masterpiece, it's a testament, his idea of art. You’re right, it drags on often reiterating the same concept and in the end, it even becomes boring. The long descent into hell, kitsch and baroque, I hated it like few things in the history of cinema.

Pretty empty disc. Some noteworthy lyrics, as always, but musically it tells me very little (after all, Canali clearly states that these are shitty songs). My favorite track is the apocalyptic "Mille non più di mille".

I expected more from this film, especially since Sicario and Hell or High Water were much grittier, and I was hoping for a chilling movie (like its stunning setting). In my opinion, Sheridan gets carried away and overdoes the sentimentality, which eventually becomes annoying. The character played by Renner should be much angrier; instead, he seems almost "perfect," too "written," a flawless hero. I greatly preferred the ambiguous characters in Sicario or those in Hell or High Water. Overall, however, it is more than a good film.

Underrated and slammed by critics. In reality, it’s a great movie, Ridley Scott at his best.

An excellent crime drama with a sadly necessary and sharp political message. I basically disagree with nothing in the review. Spike Lee puts Trump's slogans in Duke's mouth (which you didn't mention), and the giggles on the phone are definitely valid; just to cite a recent case, look at the footage where the UN Assembly bursts into laughter in the face of the US president after he says one of his lines. You're wrong to say that Tarantino is more effective in a few minutes; those you call idiots have an absurd following. Lee does mock them, but he doesn’t treat them like stupid hicks. They are capable of reaching important places, they have connections with authorities and even the FBI. There’s the half-wit, just as there are almost wise characters in their crazy ideas. Tarantino resolves everything in Django with a bloodbath, while Spike Lee concludes by showing his respect for human life—no revenge fueled by hatred or bullets shoved into the heads of the villains.