Senmayan

Sure, evaluating a series for just a few episodes, especially watched in Italian! Come on!

It's difficult to rate this film because it has high merits and huge flaws. Let's look at the flaws:
- unsubtle, cheesy, tacky, and really out of place (rap music) references that are embarrassing (the theme from Trinity drives me crazy). I mean, why this copy-paste in the soundtrack? Why this blatant quoting that makes everything feel like a joke?
- It seems like a Rodriguez film, too tacky in some parts; at times, it felt like watching an intellectual Machete.
- Predictability of the plot, the last 20 minutes are spent hoping that Django will save his woman soon.
Now let's move on to the merits, which are not few:
- the performances of all the actors, even DiCaprio is really incredible, and not even the terrible Italian dubbing ruins it, as well as Christoph Waltz and the usual giant Samuel L. Jackson. In this film, Tarantino manages to create truly iconic characters (something he failed to do, except for Waltz, in the more ensemble Bastardi senza gloria, which still remains a better film than Django).
- Several cult and anthology sequences that will become part of the already rich collection of enormous cinematic moments in Tarantino's filmography.
In short, my rating is 3.5. It easily surpasses the passing mark but nothing more. We want a real film, not a tribute! Death Proof was better because it was openly ridiculous and is among my favorite films of his, only behind Pulp Fiction and perhaps Reservoir Dogs.

You deserve one, but you did well to mention The Wire, which gives a completely opposite impression compared to CSI and company in the first two episodes, indeed it has a pachydermic slowness (which will turn out to be a strength as it progresses) and bases its plots mainly on the bureaucracy and crime of Baltimore; in short, it has nothing to do with simply solving a case, etc. (even in the first episodes), also because they really have limited means. In the fifth episode of the first season, the famous "fuck scene" also mocks C.S.I. Let's be honest, I give you a 3 because you mistreated Buffy in the comments, a series that came out before the vampire craze and has nothing to do with Twilight—let's not kid ourselves, it’s another thing altogether. The form, if anything, shouldn't be judged based on a dubbing and an adaptation that can only be described as abysmal. Anyone who knows TV series knows that Joss Whedon, the creator of Buffy, is indeed one of the most brilliant and great authors out there. HBO is a guarantee of quality, but it is starting to develop a habit of making series that are a bit too slick and monolithic, not really, how to say, flexible in genres. Don’t get me wrong, having The Sopranos and The Wire is great, but too much is bad. Salud.

You're not a troll or someone looking to provoke, so giving you one star for the review is truly unfair. It's not even a review worth tearing your hair out over and is a bit superficial in several points. After all, this, along with three or four other titles, is among the most representative albums of prog, and treating it as if it were self-referential and bad is a bit too much.
I understand your criticisms, especially since 1974 was the last golden year of prog, and right after "Selling," the genre fell into decline and the underground. Perhaps it’s true that objectively speaking "Foxtrot" is better, but I listened to this one first and then "Foxtrot," and you know what? For all its flaws, this album would occupy several spots in a top 10 of the best moments in Genesis history. You admitted yourself that "Dancing with the Moonlight Knight" is among their best tracks. In short, I prefer this album, and by a good margin, to "Foxtrot," which, compared to you, I find more polished and less spontaneous than "Selling..." which, precisely because of its heterogeneity, feels much more instinctual and "crazy." It has an atmosphere I prefer, and its charm lies in its imperfection.
To be honest, "Supper's Ready" has never particularly excited me due to the flaws you mention in the tracks of "Selling England," which are actually more psychedelic and subdued—let’s say less epic. Don’t get me wrong, "Supper’s Ready" has some exhilarating, incredible moments, but I don't like it in its entirety. Alright, I’ve written too much. Bye!

When it comes to the Beach Boys, I haven’t limited myself to their surf singles (which, in terms of sounds and harmonies, still set the standard today). Judging the Beach Boys solely as purveyors of pop songs is akin to judging the Beatles only by their pre-Rubber Soul work, that is, the stuff before '65. Their vocal and melodic harmonies are unmatched, even by the Beatles. As Lao Tzu once said, the value of a musician isn’t measured by their technical skill; the Beatles became great (just like the Beach Boys) precisely because of the intricate construction of their harmonies and arrangements (just think of "A Day in the Life" or "Eleanor Rigby"). There’s an immense value that a Clapton, with all his technical prowess, couldn’t reach (indeed, with great modesty, he participated in the beautiful "Happiness Is a Warm Gun" with a solo and often includes it in his concerts). "Pet Sounds," to those who only listen a couple of times, may seem bubbly and perhaps “too 60s” (a trait I consider a plus), but in reality, it’s one of the most intense albums ever created. If you listen with attention, you’ll notice that on YouTube, there are versions of "Pet Sounds" featuring just the vocal harmonies, and the songs work beautifully that way, and all the sessions are fantastic. The post-"Pet Sounds" period holds incredible vocal and melodic gems, some from the unreleased-at-the-time "Smile" and others, pearls like “Till I Die.” Check out the 2011 recovery of "Smile" and you’ll be able to contextualize the Beach Boys as more than just a simple surf band. Moreover, the very story of the "Smile" album carries a mythological quality.

The director who made a masterpiece like Mystic River will never be considered overrated by me. The film is, in my opinion, very enjoyable despite being a biopic, and for certain points, the gay side emerges strongly—no doubt about it. You can often see it in his relationship with the secretary, in his relationship with his mother, and in the terror he feels when going out with women, as soon as he has to talk about something that goes beyond his work.

For several years now, if I'm lucky, I listen to a maximum of two or three metal CDs a year, and yet the things Airone says always seem to me to be immense bullshit, truly enormous!

thejargoking seems like someone who has never read reviews on debaser! Quite a pointless speech from you, and totally ignorant of rap apparently!
Bye

I agree with the static nature of the tracks, which initially bothered me despite the presence of several pop gems. However, paradoxically, this very staticity, which makes the album somewhat hard to grasp upon first listen, also contributes to its longevity and prevents it from being a disposable album. It grows significantly with each listen. Very beautiful!