ajejebrazorf

I am only talking about talent as an illustrator, make that clear.

but how breccia son? it's worth like a tenth of the father, isi :D

Not at all, the best Bergman film: he himself said he preferred many others. For me, it definitely comes after Winter Light and Persona, and I place it on the same level as many others: The Seventh Seal, The Virgin Spring, Fanny and Alexander, Through a Glass Darkly, Cries and Whispers... and I'm missing several. It's just, simply, the most famous. Nothing taken away from it. Anyway, words from Bergman: "«Surely 'Persona'. Then 'The Seventh Seal': it's not that great, but I'm attached to it because I invested so much love and imagination in it. 'Cries and Whispers' is also a good film... yes, I'm proud of it. And then 'Winter Light'. There they are.»"

I don't know, to me they're just guitar studies, nothing transcendent. I'm not familiar with this interpretation by Yepes, but as far as the music goes, nothing that drives me crazy, and by coincidence I just listened to them again not long ago.

>>>>yes, but then how does the van get justified? When it arrives and stops in front of the house, everyone sees it from the windows<<<< indeed, yes, kosmo and cravestman, it's not all that regular, also because from what I understood the ending was supposed to be different initially, but in the end, who really cares. Ah, the Italian special effects guy, if I remember correctly, was (or is) Giannetto de Rossi, who filled Fulci's films with all sorts of crap among others.

And we remember the famous historical importance, the significant political messages of totòtarzan. Even though there had been Keaton and Chaplin before, though.

God damn it, but even here, what do you care about the historical values of zombies? So why should Night of the Living Dead, which you defined as a masterpiece, have them? What are you talking about? There are good films and bad films; Zombie is a great film, what does Don Siegel have to do with it? >>>90% of the users, as soon as they hear about a film with dead people, zombies, corpses, blood galore, give it a 5 as if it were raining<<<< such a sentence only confirms your absolute lack of independent thought, this is not just a splatter film, no matter how much blood and guts there are everywhere. You "reason" by categories, realize that. According to what you say, Pasolini's Salò would fall into the category of porn, I imagine.

>>>>I don't know Ajeje, how you can judge films with the yardstick of "they're boring" and "they have rhythm."<<<< But when have I done that? Certainly, rhythm and editing are part of the matter. I never said they encompass everything. As for "comedy," for once you're right, it's not the right term, it slipped out. Biographical film, I don't know, I can't come up with an adequate definition. After all, categorizing films isn't always simple, as evidenced by the fact that there's such an immense nonsense as the definition "dramatic film," which means nothing and categorizes a film as much as an ID "man with a nose" could identify a person.

>>>>You're right when you say that it doesn't make much sense to be there with a notebook checking that the plot doesn't have any flaws... but in this case, it seems to me that they really went a bit too far.<<<< But I also believe that Aja didn't think it through; he just let slip a mistake. I have to say I didn't realize it right away, but only after the movie was over, so I enjoyed it anyway. But then (maybe this is just my delusion), I would be curious to see a director willing to take the risk of elevating inconsistency to a "stylistic hallmark." At a certain point, I want to achieve a specific effect; I want the plot to go somewhere, I throw in a little truck (wink wink), but deliberately, to hell with coherence. Without necessarily having the pretension of making an intellectual film, even in genre movies. Coherent or not, if it works, it works. Ah, I didn’t know Calvaire; I'll look for it myself.

I liked it quite a bit too, even though I'm not sure what score to give it. The tension is all there; in fact, from that perspective, it's perfect and outshines all the classic slashers, keeping you glued to the screen. The plot is predictable, but as a tribute to b-movies and their effectiveness, it works just fine. The twist at the end also lends itself to some reflection: it’s not justified at all (the little truck! where the hell did the little truck come from?), but in the end, does it make sense to focus on plot inconsistencies ready to "call the foul" and base the evaluation on that? Maybe it’s better to have a film where not everything is coherent and justified but still manages to captivate, compared to one with a very tight screenplay but boring...