ajejebrazorf

Think N.I.B.II.O, that instead for me Suspiria (which I like) didn't scare me at all, not even a little, to the point that I'm not sure it can even be considered horror. On the other hand, Blair Witch was one of the films that really made me shit my pants. In my opinion, despite its flaws, it has something genius about it. Poletti's comment this time is the most stereotypical thing I've heard. Poletti, aside from the talks about cleverness, can you provide a more articulated reason why you didn't like it?

But if you stop to consider the variety, for example, many Coltrane albums would be terrible. It seems hard to say, right? In short, variety counts for little if you come across tracks of the intensity of authentic celestial music, or the poetic and refined deep waters or end of the earth. Maybe you don't care, but keep in mind that my first impression was the same, and later I started to absolutely love Ellis and the subtleties of the trio. And then, while it’s true that any trio formation doesn’t inherently possess the timbral richness and variety of larger ensembles, it’s also true that they usually have much more dynamics. Once you've moved past the first impression (often erroneous) of monotony typical of small groups, you can fall in love with those albums like crazy, more than with many extremely eclectic albums that don’t have the same “depth.” Just my two cents.

@Poletti: I would never dream of saying that The Godfather and especially Apocalypse are not great films; I just said that personally, I prefer this one: I don’t hide the fact that I've crazily loved a few epic films (though I've seen quite a few). Maybe it's because once you pass the two-hour mark, a bit of fatigue starts to set in, especially with certain types of films. The fact that the conversation is drier, however, has nothing to do with my tastes or my limitations: it’s a fact, here Coppola is far from the epic tone of the other two, and he is also less baroque, which, considering the slowness of his films, makes me prefer it (in addition to the theme being treated, which fascinates me a lot, and no, I’m not talking about spying or being spied on).

A bit late, but I wanted to drop by to thank Hal and Kataklisma for the advice...I'll take care of it :)

very nice, although I prefer deep red. Frankly, I don’t like the ending.

Certo! Inviami il testo che desideri tradurre e provvederò a farlo.

very nice, although I prefer deep red. Frankly, I don’t like the ending.

As a pretentious statement, it's also my favorite by Coppola (also because this Kafkaesque nightmare is much drier compared to Apocalypse and The Godfather, and has a more human length as well). Anyway, for me, it's one of the ten best films of the 70s, which was not exactly a nothing decade.

a dialogue film from the 50s that takes place almost entirely in one room: it sounds like something to shoot yourself over, but instead, it's really nice, it has a great rhythm and it's even funny.

I find that in other films Kurosawa has made more ambitious and deeper ones (Ran, for example, and I haven’t seen Madadayo, which many Kurosawa fans consider the best, nor many others). Without taking anything away from this, which remains very beautiful. Then again, it’s a matter of perspective; you should know that The Killer by Woo makes me feel almost sick, despite the chorus of unanimous praise.