fusillo

I had been waiting for a "slime" launcher for months. Great Pretazzo!!!

Well, Happypippo, you're never satisfied... You have the minute-by-minute account of the movie; you wouldn't want the review too, would you? :-)

Gosh, it must have been quite a blast... I envy you. But hey, how hard can it be to play the Kazoo?

I haven’t seen this film and it seems that I never will, but since we're talking about The Blair Witch Project, I’ll tell you, it scared the hell out of me. It’s like in those scenes where the protagonists cautiously enter a space where they know the killer or the monster is hiding. It’s the anticipation that brings the tension. There, the wait never ends. And it’s not rewarded by the witch’s appearance. It’s a sublime and nerve-wracking film. And mind you, it’s full of flaws. At the beginning, it’s said that the footage found in the cameras hasn’t been edited. Yet in the film, there’s editing with two different filming styles corresponding to the two different cameras the guys have. And even though the film fails where it pretends to be realistic—and I pay attention to these details to the point of pedantry—it captivated me like few others.

Of course you have to, Pibroch. :) @Punisher: I was saying that your son is a veeeery smart child. :)

Absolutely true what you say about Jarmusch: "Jarmusch instead directly shows the 'magical' portions of what surrounds us, which are there, silently dozing in all their simple physicality, already beautiful and ready..." After all, this is the story of a prison escape, and if there’s one thing you’re not shown, it’s precisely the escape from prison...

The first time I saw it (maybe when I was 8 or 9), it scared the hell out of me. Out of pure curiosity, I went to see the new version: the only moment when the audience in the room (myself included) jumped was when the young priest in his home hears the recordings of the possessed woman's voice, and after a moment of silence, the phone suddenly rings...

"I scream, you scream, we all scream for ice cream..."

Thank you, friends, for your comments: Iside, what Poletti says is correct. I want to clarify that Buster only threw pies in faces in the very early films he made with Roscoe Fatty Arbuckle. Furthermore, in those comedies, Buster sometimes cried and laughed... @pretazzo: if you’re talking about militaristic logic, I can agree, but we must keep in mind that Buster was a comedian and "The General" is an adventure and war movie: he had to draw some inspiration from the army. ;-) @sabatino. I completely agree that the discussion about "the general" does not end with the chase between the trains. Buster always prioritized the story, then the gags. On the other hand, I spoke generally about the film, mentioning albeit briefly his cinematic skill tout court. As for the music, I don’t know Joe Hisaishi. I can tell you that I recorded a beautiful restored version from RAI TRE, with a lovely orchestral score written by Carl Davis. I also watched the film with a piano accompaniment by Stefano Bollani. If you’re interested, I talk about it in my review of Bill Frisell "Music for the films of Buster Keaton - The High Sign / One Week." @Godbowl: how can I forget? ;-) Hello everyone.