Galakordi Urtis Krat

@psychopompe: I didn't notice it, are you sure it's him?

I would set Fausto Brizzi on fire.

I mean... I reiterate... wow... thinking about it, it's really hard to make a worse movie than this.

Wow, I just finished watching it and already a couple of questions come to mind. 1) Why the dedication to JOHNNY RAMONE? 2) Aside from the fact that it's one of the ugliest movies I've seen lately (it tries to appear serious in tone, and that already says a lot), and aside from the excuse of the remake that allows one to change the story here and there, but... damn... basically the moral is: "WOMEN ARE WHORES." I mean, something so elementary and scrawled (just think about how characters like "the teacher" [insufferable], "the blind twins" [insufferable and ridiculously pointless], "sister Summersisle" [oh god...], "the little girl" [such an ugly little girl, only surpassed in ugliness by Brooke's daughter from Beautiful (Hope), just to stay in the b-trash theme]). Wow... an outrageous Nicholas Cage, and it really takes something to be outrageous in a cast of already terrible actors. I repeat... "wow"...

I saw it last week. What can I say except that the finale is a tear-jerking applause and cheers moment, that some dialogues (like that of the second group of girls in the bar filmed in steady circular) are obviously elongated (from the European edition) and have little bite, that the style is 100% PURE TARANTINO, that there’s a truly heartfelt passion for cinema that lasts throughout the film, that the chase with Zoe Bell on the hood of the Punto Zero car was filmed live and without tricks (I was really scared she would fall), that Tarantino’s cinematography is cool, that a film like this can have a depth close to zero but a crucial importance at such a particular moment for cinema, that there are still people who say that Reservoir Dogs and Pulp Fiction are niche films (they never were, or rather, they believe that one cannot be both Authors and gain the deserved success: your two-bit Manichaeism is as touching as it is foolish). And then that's it. Five.

It’s curious that the style of Automavision (which in the end "has" its own personality) resembles so closely the style of Aki Kaurismäki. I leave to the reader any doubt regarding the concept of identity.

Von Trier (living idol) is, cinematically speaking, the most talented and seminal director in the world. The entire contemporary aesthetic is influenced by his work. To deny this means only to refuse to understand, that is, to be foolish. The Great Chief is certainly no exception to this consideration, demonstrating how a potentially unsurpassable technique like "dogma 95" could only be transcended by a non-technique. A truly excellent example of depersonalization that becomes art and a demonstration of total genius.

everyone stop, I've been rambling about the review of the first season of LOST for months

what an exhilarating movie.

miciatigre, it’s obvious that my proposal referred to a total "agreement" regarding what you said in the comment. I shudder at the mere thought of someone hanging on Poletti's every word when it comes to opinions about cinema.