Mike76

I don't know if the Gronge were different in their early days, but I have the '93 CD "Teknopunkabaret," and to be honest, I don't like it at all. If anyone is interested, we can arrange a trade or purchase; I have no use for it.

Well, it's hard to thank the Moroccans considering what they did in Ciociaria. Anyway, I just wanted to point out that countries like Germany, Italy, and Japan, which LOST the war disastrously, have become economic superpowers, especially THANKS to the Americans. They used to say that the losers were in trouble, yet the countries of the tripartite have fared even better than some of the winners. Then, that the U.S.A. have made a series of (tragic) mistakes like the conflict in Iraq is something I'm the first to say, but they also have their undeniable merits.

@ISIDE: if you read carefully, I didn't even mention the liberation.

A great comic book movie shot with style and irony. It's "just" entertainment without pretensions, but perhaps that's why it's Tarantino's best film.

Upon first watching, I liked the film; but revisiting it on television, all its flaws jumped out at me: superficial moralism, soap opera-level acting, and a wobbly historical reconstruction (but weren’t concentration camp prisoners shaved bald?). These overshadow the merit of tackling the Holocaust theme in a different way than usual. It’s a ridiculous "review" from someone who sees American imperialism even in their breakfast coffee and in their nose hairs. Then, a small reflection: being anti-American today is quite trendy, but if for sixty years life was generally better in Italy than in Yugoslavia, better in Germany than in Poland, better in Japan than in China, better in South Korea than in North Korea, etc., etc., it’s largely thanks to the U.S.A., and even the so-called counter-information (which does not mean reliable information) that is all the rage online today cannot deny this.

I saw it too not long ago, and it actually disappointed me a bit; I found it to be somewhat like a play adapted into a film version and thus a bit static, despite the surreal dialogues. In '88 it may have had a good pace, but now the passage of time is felt. I much prefer the latest Almodovar, the ones like "La Mala Educación," "Todo Sobre Mi Madre," "Volver," and "Hable con Ella." The rating for the film is tight, a rounded two and a half. The review is perhaps too influenced by disappointment and explains little about the film.

I would say "culopiattogambecorte&STORTE" is a dominant gene in Japan. Even for those with breathtaking faces, unfortunately.

I had listened to him distractedly in the shop years ago, but he hadn’t said much to me—too reggae for my tastes. Then I listened carefully to the cover of "I Heard It Through the Grapevine," and I must say they turned it into an irresistible reinterpretation, on par with the best new wave covers of the time ("(I Can't Get No) Satisfaction" by Devo, "Summertime Blues" by Flying Lizards, "Tainted Love" by Soft Cell, etc. etc.). Maybe I should check them out. A smooth review, although perhaps it could have said more. One observation: is Marvin Gaye's cover of "I Heard It Through the Grapevine" in SKA version? I don’t think so, or maybe I have a wrong idea of what ska is.

Review "Ghezziana" not to my liking. However, the film is very good even though it recycles many of the themes and figures already present in the iconic "Tokyo Fist": the couple living in apathy, the third wheel that haunts them, the struggle between rivals, etc. etc. The ending, as usual, is frantic and open to interpretation, also because Tsukamoto never makes it clear when something is a flashback, a dream, or a real scene from the story. A note of merit for the protagonist, quite a stunning piece of work (and if I remember correctly, she even had straight legs!).

Very beautiful and very sad, but I prefer Kitano's lighter side in "Kikujiro's Summer" and "Zatoichi." Unfortunately, I saw it dubbed in Italian, and having (seen and heard) the mess, I think it's worth watching in the original language with subtitles.