zigghio

There is no doubt that with his latest films, Lynch has had a critical eye towards the film industry. It’s clear, the scenes in Mulholland Drive with actresses commissioning murders out of jealousy over a friend who married the director, thus obtaining the much-desired leading role—well, all these little things, how can one say that Lynch is just nonsensical dreaminess and nothing more??

unknown? Not really, those who understand cinema know that this is a seminal and fundamental noir.

vanishing point was cool and had a hippie vibe, representing the most hallucinatory, almost catatonic aspect of peyote effects, far removed from certain psychedelic fumes... and Kowalsky is the perfect example of this, a funk trip during the time of the chemical generation.

Needless to say, I agree... the 2 is only for the United States otherwise it would be 1.

This is what Bertoncelli writes about the album: "The title seems pretentious but it's just a gaffe: Billy Corgan struggles to agree with himself, let alone if he can truly grasp 'the spirit of the times.' But that's not the point. The point is that no one will ever give us back the Smashing Pumpkins of old, those from the early '90s, up until Mellon Collie, and that with so many half-hearted or merely promising albums, Corgan's figure is being diminished in the perspective of rock history.
This is the first album under the old label since Machina, from the year 2000, and it picks up from that heavily disturbed gothic heaviness only to stop a little further on. BC worked for two years with Jimmy Chamberlin, the only one of the old bandmates who said yes, and a series of session musicians, relying on a couple of producers who are as experienced as they are unlikely (Terry Date and Roy Thomas Baker). The result is an aggressive, moody, uneven album, with few strokes of brilliance. Doomsday Clock, the first track, sets the tone with an insolent hard sound driven by psycho-metal bursts, reiterated by the single Tarantula, on more commercial foundations: it's the trademark and Billy is proud of it, who knows how rightly so, if it's true that those dark sounds, that infernal grinding beneath him end up suffocating his frenzied voice - freed from that weight, in reality, he would still have magic to offer.
Only one track truly stands out, United States, with its endless hallucinatory twists; the rest sounds conventional, aside from a couple of awkward outings (Starz, Pomp And Circumstance) that may just be simple fillers but at least call back to the eccentric spirit of Mellon Collie.
Personal opinions, Billy thinks differently and goes big: 'I know it’s never said about the Pumpkins, but this is fun music.'"

the last 20 minutes are stunning, Sophoclean... tragedy, kitsch, excess, madness, exaggeration, blood by the hectolitre, epic...

but it's a little TV movie, Antonioni had agreed to film for television completely and for the first time with cameras, but it's not hard to understand that he was little interested in the project... it's a bit like when in the 80s, already sick, he filmed some stupid music videos for Gianna Nannini, it doesn't count.

I have never seen The Princess of Homburg, and anyway I don't even know how it fits into his filmography, between Professione reporter (1975) and Identificazione di una donna (1982). I have always known that he directed only one thing, a TV movie titled Il mistero di Oberwald (1981)...

Identification of a Woman was released in 1982, so it won't be that film that determines Antonioni's mediocrity.

the real Antonioni ends with Professione Reporter; everything he did afterwards doesn’t matter, especially since he fell seriously ill and was no longer himself. In Blow Up there’s a whole discourse on the subjectivity of perception, on the visible and the dichotomy of reality/appearance, and in the review (?) it’s not discussed, probably for convenience.