2000

a discount interstellar, basically

Edit to the review: "Small addition". See the old version Joker - Todd Phillips - Recensione di 2000 Versione 1

Edit to the review: "Small addition". See the old version Joker - Todd Phillips - Recensione di 2000 Versione 1

For me, it's a blockbuster. It revisits New Hollywood in style and themes, particularly "Taxi Driver" and "King of Comedy," updating it with modern superhero films. I accidentally saw it in the original language at the cinema (when we chose the screening, we didn’t do our homework 😂), probably the best mistake that could have happened because I witnessed a masterful performance by Joaquin Phoenix, yet another for him. For a superhero film, it still manages to give you an overwhelming sense of decay and discomfort the entire time, not exactly the feeling that a comic book movie usually provides; in terms of realism, it’s close to Nolan's Batmans, but here the realism is taken even further: no superheroes, no winners, just an ongoing sense of unease that leads you to the climax.
What can I say, I loved it. One of the best films of the year for me. The review is excellent as always, although the judgment is more critical than mine 😁

I admit, there was a time when I listened to this album a lot; I don't even consider it bad, but he is truly a medioman. He has never done anything remarkable, nor anything horrible either, just an average American singing about youthful hookups and love for his homeland, like so many others.

What can I say, chapeau. Probably the best Tarantino since that other masterpiece, Inglourious Basterds, and also his most tranquil and well-thought-out film. It features all the typical Tarantino characters, the meta-narration between reality and fantasy (just like in Inglourious Basterds), and that absurd, over-the-top violence that, even when used for only about 10 minutes in nearly 3 hours of film, is still memorable enough to make its mark.

With this film, Tarantino seems to really want to pay tribute to the cinema that shaped his artistic journey: there's 1960s Hollywood represented by Sharon Tate, the fading 1950s represented by Rick Dalton, the Western (even though it's a film within a film in this case), Italian cinema, B-movies, thrillers (the entire scene at the old ranch with the hippies is a masterclass in how to create tension), and even the gore/splatter component (no spoilers, but anyone familiar with the true story behind the film's meta-narrative will definitely be surprised, amused, and even satisfied) and of course feet, the main fetish of the director, which are abundant here :D.

In essence, Tarantino made a film about his craft: a love letter to the seventh art and the cinema that once was. And then there's the stellar cast, with a monumental DiCaprio who, in my opinion, could deserve a second Oscar; he doesn't just play Rick Dalton, he is Rick Dalton. When you can no longer tell the difference between actor and character, you've hit the mark (then at the end of the film his hair grows and he looks like a Jack Black lookalike, but whatever). I absolutely adored Brad Pitt's character, the nonchalant antihero who doesn't care about anything or anyone and finds himself in all sorts of trouble. Yet, unlike Rick, Cliff Booth never gets discouraged and keeps moving forward, effectively becoming the true protagonist of the film, at least toward the end (special mention for his dog). Margot Robbie as Sharon Tate is fantastic, innocent, radiant; a lighter but equally excellent performance. Then there are a thousand other famous actors who make just brief appearances but leave a mark (Tarantino can afford it :D) like the producer who loves spaghetti Westerns played by Al Pacino, the Manson family, the ever-present Kurt Russell and Michael Madsen, and a Bruce Lee that sparked debate but, in my opinion, served only to further mix Tarantino's fantasy with reality, creating a hilarious scene.

SPOILER ABOUT THE ENDING
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[SPOILER] I believe the ending of the film is extremely significant: altering reality to save Sharon Tate from the murder that actually occurred symbolizes the infinite possibilities stemming from an artist's imagination that cinema can provide: changing reality and creating a happy ending, albeit exaggerated and "Tarantino-esque," in my view symbolizes the very reality that bends itself definitively to the cinematic fantasy world. The whole film hinges on this duality between the real and the invented, ultimately symbolically merging these two aspects with an ending that I find almost poetic.
[END OF SPOILER]

Trent Reznor, a metalhead haunted by country: first with Johnny Cash's "hurt" and now with "old town road," where they've sampled a melody from his album "ghosts." Poor thing :(

Underrated album. Their best since Californication.

A crappy movie. With the story of Burzum and the black metal movement, an interesting film could have been made, and instead, we got this little piece of junk; a missed opportunity.

Not bad for the first two, but the one with Miley is really a letdown. The drop in quality is absurd; thinking that until the "interactive" movie, it had never really disappointed me.