Bartleboom

DeRank ™: 35,89
DeAge™ : 7610 days • Here since 9 august 2005
Love Contact
Spirit Caravan Jug Fulla Sun
Spirit Caravan Jug Fulla Sun
17 jun 17
Voto:
Hello dear ones. I'm really sorry to find you on this page, which remains the review that makes me cringe the most (and I mean really!) among all those I've written. For an album, by the way, that after all these years, I still find beautiful and keep listening to, as if it were the Sabbath Bloody Sabbath of our so maligned generation...
Jethro Tull War Child
Jethro Tull War Child
8 may 17
Voto:
Look, I really like you because you speak knowledgeably about a group I've been fond of for a long time. Even though I haven't commented on them, I've read all your reviews and enjoyed them because they're full of anecdotes about the compositional/realization phase of the album. However, Santa Madonna, when it comes to grammar, I feel like crying on the even lines and crying a little harder on the odd lines... For the service rendered to me and the site, the score would be 60. For form and syntax, -10,000. I’m short on time for my morning routine, so I won’t dwell on it further, but we understand each other.
Neil Gaiman American Gods
Neil Gaiman American Gods
21 apr 17
Voto:
Mmm... it seems very strange to me that you can't find it in bookstores. In Italy, it is published by Mondadori, which first released it in the "Strade Blu" series (those with the yellow spine, just to be clear) and since the 2016 edition, it's distributed in the "Oscar fantastica" series. Moreover, in the meantime, the series that Wednesday mentioned in 2013 has actually been made! Not for HBO, but for - I think I understood - another minor channel. We're just at the beginning of the episodes, but the reviews are very positive.
Makoto Shinkai Your Name.
Makoto Shinkai Your Name.
17 apr 17
Voto:
But the real question is: all this fuss for this movie? Oh, I liked it, for goodness' sake. Like all of Shinkai's films, it felt a bit too cutesy, a bit too affected, and with an ending that was really dragged out for too long (it's fine to dilly-dally over the meeting between the two, but when you go past 15 minutes of dilly-dallying, it veers into mockery). But the whole first part is enjoyable, even if it’s seen and spelled out in every possible way and with every condiment; generally, there's a good rhythm, and the technical aspects are top-notch. Now, if one really wanted to find something worth spending all this time on for Shinkai, in my opinion, it should be the way he uses colors, his super pastel palette, the play of light. That certainly has the unfortunate effect of further increasing the level of cutesiness, but at least it's his trademark, and you can recognize one of his films just from that. In short, going back to the start of this comment: I don’t understand why this film (which I liked) has sparked all this attention, even making its way into Italian cinemas. At this point, I'm expecting to see at least something from Mamoru Hosoda in theaters.
Denis Villeneuve Arrival
Denis Villeneuve Arrival
9 apr 17
Voto:
Well, I wouldn’t reduce the issue of “daughter” to a pro-life manifesto. Or, at least, not only that. First of all, because it doesn’t seem to me that the protagonist’s decision is celebrated in any way in the film. On the contrary, I think it’s portrayed in such a way that the majority of people might think she was a jerk and that Hawkeye is right not to speak to her anymore. I read it more as a discourse on what I’d like to call “abuse of power,” which surely has a better and more suitable name, but I can’t think of it right now. Something like: having the possibility, to what extent is it right to alter the natural course of events, the future? When the survival of the planet is at stake, the answer is easy. It gets more complicated when it concerns an individual. Especially when the life of another living being depends on our decision. It’s easy to say pro life. In a case like the protagonist’s, would the right choice really have been abortion or not conceiving? If the daughter had to die at 10 years old, instead of at 16, 25, 32, or 40 years old, would the mother’s choice have been justifiable? What is the criterion by which one must determine that a life is worth living?
Stanley Kubrick Arancia Meccanica
Stanley Kubrick Arancia Meccanica
4 apr 17
Voto:
Strange that, at the time, I hadn't commented on this page. In hindsight, it seems like a beautiful testament to that period. Happypippo was great: knowledgeable about cinema and jazz, incredibly passionate, but often ended up being right. I fondly recall an epic argument between him and Contemplazione to see who knew more about jazz, lasting a couple of days and a few hundred comments... This review seems very nice to me. It has everything I like: expertise, personal experience, and some discussion points. And then there’s Poletti who wanted to teach us the history of cinema. 5 stars for sure.
François Truffaut I quattrocento colpi
François Truffaut I quattrocento colpi
29 mar 17
Voto:
It's a review that's too didactic, too "institutional," almost like one of those comments you would expect to read in a compendium like "The Best Films of the 20th Century." You don't say anything untrue, for heaven's sake. It's just that you leave out the truly important things: what the film made you feel doesn't come through. I've always found it a film of infinite sadness, even cruel. The final sequence, by the beach, should be liberating, if not even comforting, but then that final frame comes, with Antoine's melancholic gaze...
Sophia As We Make Our Way (Unknown Harbours)
Sophia As We Make Our Way (Unknown Harbours)
28 mar 17
Voto:
I mean, you come back to reviewing after EIGHT YEARS... crazy. Incredible. I still remember your reviews on the Cure and, above all, your page on the Psychic Warrior Ov Gaia (I think that’s what they were called) with the visit counter going haywire: I wouldn’t rule out that it has reached a million today! :)) Hi!
Xavier Dolan È solo la fine del mondo
Xavier Dolan È solo la fine del mondo
20 mar 17
Voto:
I liked it. I understand what you’re saying about the excess of mimesis, but if you think about it, everything is exaggerated in this story, starting from Louis's 12 years of absence. What I liked the most is that, in the end, the biggest jerk of them all is Louis: he abandoned his family, and in 12 years, he only sent postcards. The younger sister grew up idolizing him, waiting for an invitation to come visit. And when that invitation finally arrives, it’s the furthest thing from being spontaneous or a result of true interest and real love. At one point, the mother says something like (I saw it in French): "I don’t understand you, but I love you": he returns her embrace, but it’s unclear how genuine it is. And Louis? He hides behind his silences, his manners, his benevolent smiles... but the question you end up asking is: what did you come back for? These people don’t interest you; they irritate you, they annoy you with their shouting and their swearing. You have two nieces/nephews, one carries your name, and you’ve never even seen them in a photo. Did you come just to unload some of your pain on them? Louis is a jerk, and the car dialogue is emblematic: Cassel is seemingly insensitive and crude, you don’t understand the reasons for his resentment towards his brother, but it’s in the car dialogue that it becomes clear that Louis is simply reaping what he has sown, not to mention what he deserves. Cassel immediately exposes the pretentiousness of his story ("I was at the airport bar watching the dawn..."), accuses him of being fake, of having planned even that one moment of intimacy ("do you think we’re in one of your stories?") to charm his brother. Come on, great movie. Maybe truly a bit excessive to the point of bordering on caricature in some parts (the mother drying her nail polish, Cotillard struggling to say a complete sentence without stuttering), but beautiful.
Nicolas Winding Refn The Neon Demon
Nicolas Winding Refn The Neon Demon
20 mar 17
Voto:
Oh, in the end, I think I actually liked it. I thought I was going to spend the whole movie just loading crap into the catapults, but it turned out alright. At least because I found less of that philosophical-existentialist nonsense than that toilet paper roll of a movie, Only God Forgives. However, I agree with Pixies: we’ve understood that visually/aesthetically/directoriall y you’re our glittery god, but if you throw in some dialogues, have them written by someone who’s at least finished middle school. And if you add a story, let it be told by someone who doesn’t work as an editor for Vanity Fair. Come on, 4 balls that would be 3.5.
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