Mike76

Excellent, among the Cronenberg films I've seen, it's definitely the best.

But "Atlas" is that piece with the Smurfs' choir?

A dream that blends and alters the elements of reality. A great film among Lynch's best. And the leading ladies are stunning.

You didn't mention the supertrash scene with the possessed canary that causes chaos, fluttering around and injuring the head of the family with its sharp claws before vanishing shortly after in a burst of flames. The funny part is that then the dad tries to explain the phenomenon with the poor-quality feed. A more appropriate title for this episode would have been "Nightmare 2 - La Cagata."

A short film and a big film together because it manages to appeal to both children and adults. Tim Burton, from this perspective, is the best creator of "family" movies. As for the plot, I think he was inspired by Palazzeschi's "Codice di Perelà."

Indeed, the film is one of the most boring I have ever seen. Only watch it if you suffer from insomnia. Depp remains a great actor but here he has sinned from arrogance. The emptiness passed off as existential angst.

Exactly, we both see the same bottle but for me it’s half empty and for you it’s half full, we simply have a different evaluation due to personal tastes. Anyway, I’m not debating the historical importance of a group that has influenced our local New Wave, just think of Faust'o who wrote a piece titled "Il Mio Sesso" and the Gaznevada whose single "Nevadagaz" took a lot from "Fear in the Western World" by "Ha! Ha! Ha!". Anyway, once again well done, keep it up, there are still many important New Wave albums missing on Debaser and you are capable of reviewing them well.

I quote Vortex.

The review is good, and I agree with many points, even though I’m not particularly excited about this album. The biggest flaw of the early Ultravox! is the excess of ideas: they liked art-rock, kraut, and punk, and they often mixed these ingredients with little synthesis. In the end, the result is something fluctuating, neither experimental like Neu! nor incisive like true punk, and not elegant like Bowie’s Berlin era. In my opinion, Ultravox have done better without Foxx (and Foxx without them) because they finally understood that it was wise to focus on just one thing (electronic music), developing their approach in a less scattershot and more homogeneous and coherent way. In that hodgepodge that is their debut album, the folk that turns bucolic to android in "I Want To be A Machine" and the cold recitation of "My Sex" are still appreciable. I find "Dangerous Rhythm" nice but nothing more, and despite the overly pompous instrumental outro, I also like "Slip Away," which strikes me more as 50s-60s pop-rock than a waltz (and not by chance, Roy Orbison was among Foxx's favorites). Perhaps "UltraVox!" was indeed the first LP by an English band that can be labeled "new wave"; nonetheless, I strongly prefer other "newer" New Wave albums like "The Scream" or "First Issue."

This film also won the Palme d'Or at Cannes in '65, but viewed today it doesn't seem quite as sharp as a satire (and I'm saying this as a Venetian). The review rightly emphasizes Lisi's beauty, but what struck me most was Orfei's, which was truly remarkable at the time.