ajejebrazorf

a beautiful comedy, for me right after Sunset Boulevard it’s Wilder's best ever. Four and a half.

But wasn’t there already a review?

a shameful piece of crap. Damn what a disgust. An irritating, boring, and expensive pop box, flashy and winking that contains nothing.

For me, it remains one of the great Italian films of the 70s, and I absolutely do not agree that it has aged; on the contrary, it seems to me that it is still very relevant. The unpleasant, unhealthy, and disturbing atmosphere that permeates it is rivaled by very few other films.

"Let's put it this way," it can't be done, at most the dwarfs will put it there, but I doubt it because it would be quite a mess, don’t think everyone understands it as you say. Many magazines use the rating from 1 to 5 like this, two dots equal to passing grade and I, like many others, have always given grades this way. Moreover, determining if a movie is really bad or just bad is of little interest; for the bad films, I will continue to use 1 and that's it, it's clear who uses one scale and who uses another. Let's not get too picky about these things, come on.

Well, great, I've always used that method too (two for the passing grade), after all, it's not written anywhere (and I think it's too late for the dwarves to add a little legend).

I remember it being very beautiful, and among the comedies (that is, setting aside fierce films like "L'asso nella manica" or "giorni perduti") perhaps the meanest together with "prima pagina." Maybe not in the top 5, maybe not a masterpiece, but definitely a great film, even though now that a lot of time has passed, I wouldn't know exactly how to rate it. Nevertheless, Wilder's ability to critique while maintaining a smile and lightness is unique. Better than Zelig, for sure (let those who have ears to hear, hear).

No wait muffin, you see, sometimes even Zappa messes up in an impressive way, for example the various "you can't do that on stage anymore" often get lost in monstrous tangents.

There (but does it count? I don't know)

I prefer the Möbius strip of Lost Highways because it dares more, lets go of prose and dives into poetry (sorry, I know that sentence sounds awful but I can't think of a better way to say it right now) and it doesn’t worry about alleviating the anxiety of those who want everything in the plot to be justified, as if that were the most important thing in a film, making sure everything adds up. What the hell, do you lose sleep over it? :) That said, Mulholland Drive remains one of the greatest films of the decade, no argument for me (four and a half for pettifoggery). Inland Empire left me a bit puzzled though; I need to rewatch it. As for Spider, mentioned by Odra: I liked it, but it didn’t strike me as that great. I should also say that I appreciate Cronenberg but I've never been crazy about any of his films; I manage with an emergency taste.