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A Stickiness, That cannot be washed.
You take something unfamiliar like the fear of the unknown, tailor it to the common assumption of the audience so that you don't force them to think too hard
and you'll get an uninspired film tours the world withal animate acclamation and trophies and prizes by the apparatus of the official state culture. In this ruinous process, and with the complicity of obtuse moviegoers who desire precisely not to see the unfamiliar, cinema can no longer exist in the way it has always reinvent itself film after film. Cinematography was the sincere desire of reproducing the movement of the world, of men and women's language, of life. There was no cinema without love and it never had the power of parading soldiers or academic scientists or television people of today; Yôjirô Takita's "Departures" lacks any vital issues that could damage revenues and harm the film's commercial prospects, no payoff for you, you are bought if of any interest "Okuribito" is an apt metaphor for human-to-citizen-to-consumer-to-consumed.
Den brysomme mannen (2006)
Whatever it is, That's not a film
The subject matter of Jens Lien's "The Bothersome Man" is clear: we ought to live on as brainwashed citizens even after death. So what if the director himself abide such a Hades? Someone was singing years ago Where do the children play? Let's admit it, "Den brysomme mannen" is a dull pettiness of banality both in its production and its directional joke What other joke could bring a film to life? Let them eat cake! Few are the eyes able to see the horror of the current filmmaking environment, the forced subjugation and cultural extermination of the current social and economic arrangements. Who are those who make movies today? Do children play anymore? For someone who's able to love would it be possible for him to pay for love? Watch out, you are trained to life as dogs to walk.
I basilischi (1963)
The Italian, American Graffiti
Lina Wertmüller's directorial debut "I Basilischi" (The Basilisks or The Lizards) is a 1963 little known wonderfully written and directed masterwork of Italian Neorealismo. This keenly satiric and galvanizing movie features simplicity in both its story and execution; so unique so special. It sparkles with cinematic magic unlike any other film today. Wertmüller's lean, sharp graffito seduces and functions almost like a parable, in a number of remarkable ironic insightful vignettes, pure motives which alone drive the narrative of the picture forward. Filmed in a detached pictorial black and white, Gianni Di Venanzo, post-war cinematographer, made fundamental contributions to Lina Wertmüller's first success as a filmmaker. The magnificent and beautiful Ennio Morricone scores the scenes.
Django Unchained (2012)
This Pulp Is The Worst Fiction Ever Made
One out of the worst money-movies these times. Quentin is keeping exterminating his own film-making; burnt out, there's little chance of recovery. He lost his innocence and the genuine investment of the real geniuses that have lived. That's it. I have already written about that not long ago; there's nothing more to do for Tarantino than to laugh his way to the bank. What a loss for all involved. I can understand that Christoph Waltz, Leonardo Di Caprio, Morgan Freeman and Jamie Foxx and many others allow themselves to become involved in the making of a new film and, perhaps, in a performance, in a project with a filmmaker who proved he was somebody... but this garbage is denigrating the art of cinematic storytelling, this is compromising the ability for the young moviegoers to never enjoy in the future any resource and representation of life. What's your name? Django Can you spell it? An exchange between Jamie Foxx and Franco Nero, the man who first played Django in 1966, a Damned Great Movie, that time has left behind, which happened, for a sterile profit-only engagement, to fit the name. Today, Quentin Tarantino is not and probably ever will, be able to spell 'Movie' once again The 'Director' is silent I know that, strikes Corbucci's Django.
Le secret (1974)
Seeking the truth beyond the boundaries of what we are
Jean-Louis Trintignant (David) plays a fugitive on the run claiming to hold a unspeakable secret. He befriends with Marlène Jobert (Julia) and Philippe Noiret (Thomas) who are living a slightly dull life in the country. Robert Enrico's The Secret (1974) is a master peace of a film. A real film and as an omen it reflects very well today's society; where fears and anxiety unfortunately still prevail in our lives. Leading to an increasing fatalism as events move towards a desolate conclusion, the prejudices that lie deep within yourself while watching does not let up until the very last minute
Ennio Morricone's soundtrack is incredible, one of the finest ever, tense and disarming in all the right places. An Amazing Film.
Meet Joe Black (1998)
Strictly for Empty-Headed
All mouths and lips are what "Meet Joe Black" is about, literally: pouting, peeling, teasing, nibbling, licking, slurping. Claire Forlani throws her lips around any moment she can find. Brad Pitt, nibbling soft pink peanut butter, sucks. Anthony Hopkins, a moist breeze, but not better. Marcia Gay Harden as Allison, brain death. Martin Brest, the director here, must have instructed his actors (sentimentally): "as you well may know your lips are the most seductive part of your body and and it is very seductive when you play with your lips and and let's make a three hour film and and whisper all through the place because you don't want to wake up the audience and and whisper it all over when you hold me sweet words like I love you". The actors when signing up for Doctor Martin Brest's lips anesthesia they must have discussed both surgical and non-surgical alternatives in lip augmentation. The director finely performed injections for who didn't want surgery
these techniques result in great improvements but were a temporary solution not good for eternity. Finally, Jeffrey Tambor as Quince is the only one worth watching.
Carlito's Way (1993)
Little enthusiasm and determination.
Probably the worst Brian De Palma film, for sure a distasteful movie, it runs out of energy... watch it twice it'll begin to irritate you. The monologue/narration is bad; it tries to supply some depth to the movie but the acuteness is just not there and it ads nothing to the plot - it reveals the ending at the beginning - depressingly little intelligence here; the movie lacks in punch and does not have the credibility it seeks. Al Pacino and Penelope Ann Miller's love affair is unconvincing, there's no chemistry between the two, their emphasis is often wrong. Thought Al Pacino as Carlito Brigante is quite good, Sean Penn is brilliant as Kleinfeld. Awful script, poor dialogues, soundtrack sucks, extras/rent-a-crowds are ham/bacon bones; it hurts to see such a talented director spend his time directing with such little enthusiasm.
Lo scopone scientifico (1972)
A Magic Potion of a Very Powerful Kind
A masterpiece from Luigi Comencini. Another masterpiece of an unrestrained cinema that was (for a very long time) inspired and remarkable; Full, alike life... alike a work of art. Luigi Comencini's 'Lo Scopone Scientifico' is entertaining, funny, touching but also sharp, intelligent and intensely sad; it reflects the conditions of many of us: defeat, ignorance and inequality. It's a radiography on how persistent poverty creates a self-perpetuating cycle within the impoverished classes. It speaks of today's democratic societies! Check it out! You'll be amazed how much (today!) you can read out of this movie...Do you know what happens at this very exact time in our history? I'll say it again, check it out, watch this film, you'll know it. Wake up Folks!
Le notti bianche (1957)
Highest level of filmmaking
Masterly directed by Luchino Visconti this film should be watched by everyone. Le Notti Bianche di Luchino Visconti (White Nights) is an extraordinary contribution to cinematic history. A film you never forget. A mixture of romance, surrealism and madness. Really good movies are so rare that they're worth watching several times. Young actors should watch and study this film. Young directors should discover what film making is. Maria Schell quite simply, wonderful. Marcello Mastroianni is as always exceptionally brilliant. Nino Rota's music capable of conveying a mood and atmosphere. Notice how movies now a day sucks? Is anyone out there who still understand what a good movie is? If so, watch White Nights, a masterpiece.
Junior Bonner (1972)
A film that becomes a part of your life
More than a means of entertainment, this film stays with you forever. It provokes you without moralizing, it's an unique and rich cinematic experience, it overwhelms you with its profound language and culture if there's is something good in the world then it's worth fighting for - a film which reminds you to be part of this quest; you really can't explain, but you feel it and its good enough; something to be proud, because of the integrity, the commitment and sincerity that most mainstream movies don't have. Sam Peckinpah makes it a very good movie, Steve McQueen, Robert Preston and many others make it worth watching it. Unique. Thanks Sam!