Senmayan

@[Onirico] you could say it about stuff like Top Gun, Pearl Harbor, or Independence Day, which this lethal weapon has nothing to do with. The following (and always excellent films) will lean much more on irony, but here we find an anomaly for a mainstream movie, since the protagonist is a nihilistic jerk with strong suicidal tendencies. The action is top-notch, and above all, there was a plot without needing special effects because you had badass stuntmen and "mad me" who didn’t hold back. Let's take the politics out of these films, which simply aim to entertain and have practically created the modern action and cop movie.

Self-voting the review is as pathetic as the murgia, it's better to balance.

Great review, it makes you want to see the movie.
P.S. Despite all the flaws or the dislike that Trump might provoke (a person who has always been close to the Democrats in the past), neo-cons have more similarities (in foreign policy) with Clinton than with Trump, who has always been opposed to the Bushes; this needs to be clarified. Running as a Republican does not mean supporting the neo-con vision.

The legendary duo Van Cleef-Eastwood and the matchstick scene with Klaus Kinski are unforgettable, and the rest of the film is very enjoyable. I just expected more after having seen the first one several years ago, which I remember as better. Sure, there’s the iconic duo here, but I recalled the first one as more sober and straightforward, while this one feels a bit too exaggerated.
It’s also worth mentioning that the fault lies with the countless copies (not just westerns) and various remakes that came out later, which played and replayed the stunning stereotypes from this film (the music cutting off in the saloon, etc.). So watching it now, of course, it doesn't surprise like it did back then, because we now see these scenes copied from Leone even in cartoons. Here, the beautiful music is perhaps overly present, and the degree of cheesiness (which will take a terrible turn in many films that will copy Leone) is a bit high, and I say this with a heavy heart, thinking about the many prejudices and falsehoods regarding classic American westerns (as I've read in these comments). Leone made the western post-modern and anticipated much of the cinema to come, but when I think of this film (I'm specifically talking about this one, not others) and then think of Kurosawa’s films from which great western directors draw heavily, and of Hawks, and of the underrated yet magnificent Anthony Mann (who made five western masterpieces with the great James Stewart, as well as John Ford, and those films were far from black and white in their portrayal of reality), it comes off a bit diminished. This doesn’t negate its importance—namely, that it brought a touch of post-modernism to the western, somewhat akin to what Tarantino has done in modern times with the gangster-criminal-mafia genre.

never seen it but it looks goofy in just the right way. While I remember Capricorn One (which, as you say, should be very different from this in style) that was really a nice movie.

The album is beautiful, it’s still XTC, there are remarkable gems, but it’s a bit formulaic and constructed in a very calculated way compared to their masterpieces. You can tell it’s a work that comes after a long break and really just from studio work. Of course, my assessment is based on XTC's discography; anyone who listens to it and has never heard them before will undoubtedly fall in love with its sounds.

Paradoxically, "tengo na minchia tanta" slightly ruins a masterpiece of an album. Anyway, with Zappa I had an intense love, but it lasted just a season. The freak trilogy struck me, and then beyond that, I explored by listening to this album, Hot Rats, and One Size Fits All, all good, mind you (even though One Size Fits All didn't really blow me away). However, I prefer the Zappa who makes collages and knows how to be direct and universal rather than the one that would later inspire several less noble groups. The freak trilogy, on the other hand, is unimitable; it's something unique in the history of music.

Having known Hughes' solo music with "from now on" from the 90s and being aware of his background with Deep Purple, to say that listening to this album is surprising is an understatement. It sounds like an album from Motown or from some artist in a drawer that has been forgotten. Truly beautiful, recommended for those who love these sounds and for anyone who thinks that Hughes only does rock; they will be pleasantly surprised.

That the film ruined the image of Jim Morrison by showcasing extravagances and falsehoods is certain; unfortunately, the damage has been done because for many, Jim Morrison is the one portrayed in the film. However, since in the '90s I was a pre-teen and since Oliver Stone is a director who knows what he’s doing, creating both terrible films and very valid ones that make you think, well, having established that the film "The Doors" is a semi-fantasy, imaginary film, say what you want, but that’s how I discovered the music of The Doors, and that film has been copied by anyone wanting to create a biographical-musical film, becoming, for better or worse, a kind of archetype. It is one of the best adaptations of music and images related to the life of a rock star. While it's true that it contains various nonsense, the different images and atmosphere perfectly stage the shamanic and mysterious character of The Doors. I saw that film as a staging of the music of The Doors, not as the life of Jim Morrison or The Doors. Then, that film is one of the various pieces that led to the re-evaluation of The Doors in the early '90s. Today everyone talks about them, including teenagers, but in the '70s and '80s, they almost fell into obscurity—let's not forget that.

This cover really attracts me, especially during this almost summery period; maybe it's because it's trash, because even if it's not quite that time yet, it unintentionally anticipates the beloved-hated 80s, because it seems to promise summer vibes in search of chicks, etc. etc. But it's definitely trash, and that's part of the charm—seeing how times have changed. Not even the trashiest hip-hop artist would propose a cover like this anymore; maybe it would have fit in at the beginning of the millennium...