Basettoni

Great film. Yes, I prefer Jour de fete, but here Tati begins to embark on a deeply personal poetics, a minimalist and seminal humor that will be taken to the extreme in Playtime, a film that I can only describe as disorienting. I find Tati difficult to handle; when I talk about him, I have the impression that he might come back from the grave, block my hands on the keyboard, and, shaking his head with the pipe dangling from his lips, say: "No, you haven't understood, monsieur."

But now do we want to talk about the movie or the proof of the years? I don't understand. You don't say anything about the movie, Poletti. Then if you want, we can catch up again in ten years and talk about it again... But did you take us for fools? Of course, I will find another movie that I will speak well of; I hope to find hundreds and thousands. Look, it's you who lets the scribblers pull your ears and channel you with the authoritative critics. And if you call me trendy, it means you haven't understood anything about Jesus...

Dirty Money, I've seen it. Interesting, a bit derivative of Fargo in its setting and in the pursuit of certain atmospheres (the year is '98, three years after the Coen brothers' film), with a strong Thornton and a decent dramatic build-up. It’s worth much less than both Fargo and No Country for Old Men.

Poletti, do you want to express your own opinions, or are you just a pollster monitoring the general idea people have about movies over the years? Your comments, which aim to appear sly like someone who’s seen it all, are completely unnecessary; they sound like the remarks of a thirteen-year-old who believes only Welles' tomb can grant eternal life and is resentful toward anyone who hasn't seen "certain fundamental films." Talk about this movie, what it means to you: not what it means to Mereghetti. Do you have an opinion? Great review; the dreamlike interpretation hadn't even crossed my mind, but I think it makes sense. More evocative than detailed, yet still very much worthy of note.

...Or five, you choose.

Guys, I'm shocked, I don't understand if you're joking... For me, it's an absolute cult: I love this movie, I love it for its naive absurdity, featuring gems like "Look! Look at your dick!" or the soldier who goes crazy in the recognition scene, or the cop character who slaps one of his subordinates – all anthology pieces of trash. Not to forget the hypnosis scene or the final one, where McDowell stares into the camera trying to scare us but ends up looking ridiculous. I love you, Evilenko! 1...

Ian asks Terry what he and the doomed victim were talking about. Shaken and bewildered, he stammers, "I don't know... Poker... life...". Here, if this line remains exemplary, alas, the film is too long, and too often the viewer finds themselves deducing the allegory of the entire narrative through dialogue rather than through actions, in contrast to what happened in the far more successful Match Point, which managed to balance sarcasm, drama, and treachery in a marvelous equilibrium. Here, the pessimistic discourse on the themes of fate, chance, and evil too heavily invades the diegesis of the tale, making the plot seem like a mere excuse to lay out two hours of philosophical discussions. That these discussions are elevated as well as shareable is beyond doubt, just as it is beyond doubt that watching such a nihilistic film made by an American is refreshing, but alas, Woody has gifted us gems like Crimes and Misdemeanors and Match Point, moving on the same thematic tracks, while Dreams and Crimes does not keep pace with its predecessors. Probably a greater austerity would benefit the film (which, I believe you all agree, is too long). However, the ending is precious and treacherous, risking ridiculousness to reveal a shocking and terrible truth. Absolutely imperfect, but not to be missed.

Yes... but I saw the movie in January. :-)

Indeed, Jodorowsky's films are essentially, in my opinion, messy concoctions with brilliant touches scattered here and there.

This is ugly. I haven't seen this intelligence in the plot (and obviously not this 'originality' either), I haven't seen this meticulous direction, I saw a ridiculous psychological excavation of four boiled tunas who manage to stay alive with deductions worthy of the Goonies kids. The basic concept didn't even disturb me. Originality is not defined by the set design. And anyway, I understand it can be liked, this is just my opinion.