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Anyway, no one is reviewing 'Omohide poro poro', huh? I guess I’ll have to think about it myself...

Ah Isao aaaaaaaaaaahhhhhhhh, so much love. Beautiful film, raw and cynical, a true psychological analysis of the facets of being human even before being a war film. With this film, animation definitely reaches that next step that will allow it to definitively break away from the American model, oh yes.

Beautiful, but my third favorite among Pakusan's films.

As for the review, I didn’t appreciate it much, WAY TOO MUCH plot and nothing focusing on the central core of the film (how would a kid raised in the prosperity of the 80s react to war?)

Well, what can I say, I was at the Assago stop last night, and I pretty much agree with everything you've said. Alice was beautiful, all in white, ethereal and majestic, with a fantastic voice, but the "lion's share" was definitely taken by the incredibly vocal and somewhat elderly Franco, the audience was one big roar. Anyway, very humble and nice, both of them were absolutely adorable. Overall, it was more than an enjoyable event, steeped in memories for the older generations rather than a true showcase of vocal technique, but that's just fine.

A beautiful film from Warner Bros, with a truly effective historical context. Unbelievable how a year before they had released that crap 'La spada magica.'

Brad Bird is incredibly inspired here, all his taste and irony that would find fertile ground at Pixar a few years later are present here at a very high level.

"Well, I still see in Mommy a 'hope despite everything.'"
No, actually, it’s quite the opposite. Otherwise, it wouldn’t explain why the format expands, freeing the protagonists from the tight grip of 1:1, when it seems like things are going well. :)

Such a lovely album, but in my opinion rather uneven; the standout track is 'Laura Degli Specchi' by Finardi, closely followed by 'Azimut' (a tremendously powerful crescendo) and the battiatana [in terms of style] 'Animali d'america' (few words, but perfectly tuned to create incredibly powerful imagery, and the presence of the sax is a welcome extra touch). Also worth mentioning is the atmosphere I dare say "mystical" that arises with the opening of 'La mano' (arrangements by Finardi, if I read correctly), the aggression of 'Deciditi', the evocative image of "sun-scorched beaches of the East" in 'Messaggio', and the always pleasant vocal blending between her and Battiato (here in a light piece with a very disconnected text; the masterpiece would arrive two years later). The rest is forgettable.

I would give it a 3.5, rounded down.

Come on, it’s truly beautiful, a penetrating and centered gritty atmosphere sprinkled with moments of pure tenderness. Focused review, as usual.

No, come on, extraordinary; just the heart-stopping scene of the housekeeper setting the table while in the background we hear the dialogues speculating on the disappearance of the victim would be enough. Anyway, extraordinary precisely for the impeccable mix of suspense, tension, and existential human themes, with dialogues that couldn't be more clever, brushing against perfection. Lastly, it's extraordinary how the master consistently pulled out one beautiful film after another, with hands that turned everything they touched into gold.

Joe, a piece of advice: they show it at my outdoor cinema, dubbed of course, and according to a friend of mine, it loses a lot. On the other hand, she added that the cinematography is stunning, so it would be a shame to watch it on low-quality streaming. What do you suggest I do? Haha

But the heart-stopping finale, God. From the second part on, it's a swirling vortex that culminates in a tremendously powerful climax.