FelNetti96 Reviews

Mondocane (2021)

A bit unbalanced, but very promising debut (Actual vote should be 8-)

[8/10 · 24 March 2023]

In an unspecified future, Taranto is now divided into two distinct halves, with the "poorer" one under the yoke of various criminal gangs, in particular The Ants, the most fearsome and mysterious, which the young Pietro and Christian, known as "Mondocane" and "Pisciasotto", will join: the two, who have always lived together on the road and are able to carry out the most difficult tasks, are marked by their respective weaknesses and insecurities which will continue to crack their fraternal relationship.

First time director Alessandro Celli completely transforms the area, bringing us into a truly separate world, as familiar as it is different, in which most of what was once is now irretrievably lost.

Surely the technical side is what best stands out and gives emblematic identity to the whole, especially the photography, made up of alienating shades of yellow and dark.

The direction also proves to be solid, especially in the great action sequences staged at their best, but weakened by an excellent but at times too quick editing in making the narration flow, as well as the screenplay itself, which in proposing a story full of the most classic canons but not for this obvious nor boring, it outlines a lot of very interesting ideas which, however, are developed in an incomplete or too fast way at times, perhaps setting aside the dystopian element too much, not going too deeply into the origins or consequences of this new Italy.

The cast is made up of professionals and newcomers who do all their best, with the two young protagonists in particular finely holding up their natural bond, even if marked by a slight imbalance in the evolution of their relationship; all under the aegis of the always excellent Alessandro Borghi, who goes us an articulate character able to pass with incomparable fluidity from the most friendly availability to the cruelest ferocity, helping and at the same time exploiting the younger misfits to carry on his own war against the world.

Like every debut, therefore, a title with all the strengths and weaknesses of the case, which gives us back a work that is still immature at times, but already strong in a fresh and well-orchestrated vision, worthy of the most international products from every point of view. And which gives hope, ironically, for an even more revolutionary and radiant future.

Mixed by Erry (2023)

The energy to build and destroy Dreams (Actual Vote should be 8-)

[8/10 · 5 March 2023]

After the half-disaster of ROSE ISLAND, Sydney Sibilia manages to come back with a movie that shows again his particular view on the clash between authority and rebellion.

This is, for now, his most "cointained" picture, meaning that, unlike the previous ones, Sibilia builds a very efficient balance between the most euphoric comedy and the more intimate approach to still maintain the realism of the daily life of three common people, and of their highest ambitions with which they marked their spot in History, but without considering the necessary consequences.

The characters are the major strength of the picture, all portrayed in the most diligent and genuine way by the whole cast, catching our interest right because of their ability to go over the limits just to live their more intimate dreams, and because of the evident immaturity they still display in doing it.

This is what lacked in ROSE ISLAND: the paradox between managing to put on a possibly revolutionary act of "rebellion", and the hard clash with the reality around it.

Sibilia doesn't condemn Erry and his wish to spread music, but still doesn't fully justify him either, clearly exposing his auto-illusion in following a "short-cut" that even he can't really understand.

An intriguing tale of little antiheroes who gained and lost everything with the same energy capable to both build and crash Dreams.

Lupin Zero (2022–2023)

Too Short, but still more than Enjoyable (Actual Vote should be 8 -)

[8/10 · 21 January 2023]

When I heard of this, I was both really curious, but also cautious, given how I didn't really feel like we needed to exactly know this kind of story.

But nevertheless, I watch most of the LUPIN related works, and at the end I can easily say this is a very interesting take on the LUPIN III lore.

It manages to be both fresh, but also totally faithful to the series' spirit.

The young Lupin is perfectly built, and you can really recognize him, despite the younger and still immature aura, but already prone to challenge everything and everyone, especially those closer to him.

Finally we take a closer look to his more personal life, and what brought him to take the path of the greatest thief in the world.

His relationship with Jigen is also greatly staged, as both try to push each other to embrace their true potential, but also to stay out of trouble

The only, major nitpick is that as a whole series, it is way too short, despite still being absolutely entertaining and full of all the true elements of the series.

I hope they'll eventually make a second season, but even without that this is a more than worthy watch, for diehard fans like myself and also for newcomers.

Modest Heroes (2018)

A very nice and touching collection of shorts

[7/10 · 31 December 2022]

In their little nature, these segments reveal a simple, but no less deep and entertaining.

KANINO AND KANINI: The most intriguing aspect was surely the world-building, which kinda reminded me of ARIETTY, from Studio Ghibli.

I also appreciated how they used just that invented language, but managing to still make everything understandable and sweet.

I almost wish we could see a full movie out of it, let's hope Yonebayashi will eventually consider doing it XD

LIFE AIN'T GONNA LOSE: I'm pretty sure this will be the most relatable to many people.

Even I was touched in a kinda personal way, because even my mother suffers from allergies, although thankfully she never went into serious troubles because of it.

But I really enjoyed the realism of Shun's frustration, and the way his mother is constantly worried about him.

I could perfectly sense the pain, both physical and spiritual, and that's no easy task, in animation.

I think it's something it should be showed to everyone, kids and adults alike

INVISIBLE: The darkest of the three, though not in a too heavy way.

The idea is not fully original, given how the metaphor of "invisibility" to show the alienation from society has been used many times in books, movies and comic books.

But despite that, here it is shown in a very spectacular and effective way thanks to the animation and the visuals, almost like a live-action, like only Japanese animes can do.

The way the body transmits all the necessary feelings without any of it is just amazing and, again, full of true pain, it deserves all the appreciation it can get.

The Relative Worlds (2019)

Approximate

[5/10 · 28 November 2022]

Knowing how rich can Anime movies be, this plot could've offered so much, it could've almost become a modern gem.

But unfortunately, it resulted in an approximate work under every point.

Starting the with more evident, the 3D animation just doesn't work.

Japanese animators and directors have every right to experiment with 3D, but this flick just confirms not only that they still have a long road to walk on, but also that it just doesn't suit their style.

The plot then follows a too rapid rhythm, summarizing its most important turns too much, when it could've benefited from a longer runtime (Anime Movies can count on that more than Western Animation, just go see that of some Ghibli titles like MONONOKE, or KAGUYA)

It offers so many intriguing and complex themes, about death, love, existence, responsibility, it seems like something born by Hideaki Anno's mind.

Then we could find also parallels with flicks such as TERMINATOR, and of course many will call in also the more recent EVERYTHING, EVERYWHERE, ALL AT ONCE (which came out 3 years later).

Not that this means it is too derivative, but that surely doesn't add much to what could've been a real surprise, I'm sure.

Really sorry to admit this.

Golden Men (2019)

Unbalanced, but still noteworthy tale of human desperation (actual vote should be 7 +)

[7/10 · 27 September 2022]

Vincenzo Alfieri's second movie is full of ambition, creativity and passion, but not fully balanced, preventing it from being a total gem, but still presenting itself as unique and very intriguing flick to watch.

It's worthy to appreciate the intent to bring back the Thriller genre in the Italian cinematic panorama, and to raise the expectations by using a not so direct narrative structure, maybe not really original, but still treated with a specific identity.

This is both the strength of the picture, and the source of its weakest points.

Every chapter reflects the essence of the three characters, with the first being more over the top, the second more on the line of a personal tragedy, and the third one more as a dark crime flick.

The three main actors serve very well their roles, even though Morelli doesn't manage to fully get his easygoing nature, while giving its best in the few tragic and serious moments he's involved in.

The real surprise was Fabio De Luigi, showing the real pain and anger of a man with a broken body and soul, only wanting to give his life an impossible stability.

And Edoardo Leo too surprises, although going into more detail about him would give away too precious spoilers.

As it goes on, the movie grows in entertainment and style, being grittier and impressive for how it evokes the desperation of hopeless misfits, being both guilty and victims of crimes.

The way every segment interconnects with the others is precise and easy to follow, and the cinematography too is top notch, except in using the various neons, which are more of a mixed result.

These points of strength still don't completely solve the problem of the balance, in which, despite understanding very well the dynamic of the heist, and the motives of every character, it leaves us with a sense of incompleteness, not diving really enough in all its depth, even if this doesn't mean that Alfieri did a superficial work.

So, this is a noteworthy work to admire and discover thanks to its genuine passion, maybe still a bit immature, but full of style and audacity.

Goodnight Mommy (2022)

Deprived of all Darkness

[5/10 · 16 September 2022]

For those wondering, let's make this immediately clear: this is NOT a shot for shot remake of the original Austrian movie. It follows the same premise, but has the story unfold in its own way.

But that doesn't help anyway.

Right from the beginning they add something new, like the presence of the twins' father, and the fact that in this case it's them that go to the house, instead of the mother coming to them after the operation.

In this you can soon see how they tried to involve the mother even more than in the original.

What I mean is, while in the Austrian one she's of course a relevant presence for the whole picture, the focus is especially on the twins' reactions to the situation, with her relegated almost on the background, like a dark shadow that feeds their fears and doubts.

Here, she's definitely at the centre of it, and she also appears to be less cold and distant than the original, despite still acting in a strange and aggressive way, but this time with more motivations.

By doing this, though, all the sense of claustrophobic alienation we felt in the original is totally lost; and that goes also for other major elements, like the house: it almost was another character, its design and the way they shot the scenes, it all served so well to the atmosphere; here, the place isn't as important as it was, just a normal country home, even if they try to play the "haunted house" sensation, without real value, also with those embarassing nightmares and visions.

Naomi Watts is a great actress, and she could've easily given justice to the role; and yet, while not doing a bad job, she doesn't go bolder as she could, just like the whole picture.

And the kids ... they're not bad either, but surely they don't give us the unusual and almost frightening sensation they reflected in the original, where everything seemed to be so strange and surreal also because of them being the principal point of view.

Even the torture scene on the mother ... it's just so bland, no tension, no real sense of danger.

And we come to the twist ... I read how many viewers seemed to have caught the one in the original pretty soon; I admit they had revealed it to me before I watched the picture, but even if it was not the case, maybe it would've been easy to spot anyway. But since the rest of the atmosphere helped a lot, I didn't find it a possibile flaw, instead I assumed the directors didn't want to have a real mystery, but just to observe the reactions of the kids.

Here, the way it is explored ... well, if you complained about it in the original, here you'll find it even easier to understand ... and yeah, in this case I have to agree, it's just painfully clear.

And also, this eliminates totally the sense of darkness and craziness, giving us some kind of tenderness that totally makes no sense, and makes this another bland and poorly conceived Horror.

There you have it, let's not forget about the original, and let's go back to that, pronto.

La nostra vita (2010)

As Life goes on

[8/10 · 27 August 2022]

Daniele Luchetti directly stages the existence at times typical of Claudio, but thanks to some subtle and specific touches gives us back one of the truest and most intense portraits of a society and of a man who ultimately create a Life.

The movie immediately assumes a very direct vision in showing the passage of time and events, which for many will surely prove slow and heavy, as well as apparently unoriginal.

Instead, the director's careful approach to revealing everyday situations in such a simple and strong way, albeit stained by tragedy, amply highlights the more introspective aspect of the characters' feelings, not at all emphasized in a cinematically artificial way.

From here Lucchetti also stages a not so indifferent look at the working situation of a country where, as often emphasized by the characters, the thing that matters most is money, both as a source of livelihood but above all as one to get more and more, adding to this the emblematic theme of immigration and illegal foreign workers.

Elio Germano once again shows the inimitable naturalness with which he manages to give real completeness to Claudio, a man whose every side and feeling we look at 100%, in his not at so obvious way of facing, before and after the loss of Elena, his own existence, by "eluding" with more or less legitimate means the overwhelming complications that do not prevent him from building a personal and social context in the most solid way, exposing his character halfway between determination and suffering in a much deeper and variegated way than it may seem.

This remains a very intriguing picture that touches the most social and personal levels to demonstrate the many faces of the exploitation of one's means, human or otherwise, and the sense of proceeding with your life despite everything and in the most complicated but rightful way.

Rose Island (2020)

A Cartoonish Simplification of a Really Incredible Story

[5/10 · 5 August 2022]

Another movie with a lot of strength to become a real, genial surprise.

Everything, from the director to the main actors, and above all the Story itself that could serve us a true gem of a movie, and instead ...

What we got is an overly simplified, approssimative tale that, even if only inspired on a basilar way to the real events, doesn't give us the real depth and peculiarity it promised.

Sibilia's style is barely recognizable, it doesn't explode with that sincere surreality or dynamic way of presenting a story or characters full of surreal, but valid sense of rebellion, and ready to take the most unexpected ways to solve their problems.

But while in the surprisingly wonderful "SMETTO QUANDO VOGLIO" trilogy managed to construct in an original and specific style an adventure full of all the most important elements, from comedy to drama, to even adventure and action, here we don't feel them in the same way, or even in a bigger way, as we could've expected, given the premises.

The movie doesn't really make an effort to make us understand the real sense of Giorgio's wish for a personal utopia; for the whole time, he appears only as a child wanting everything in the most obnoxious and ridiculous way.

He is not that kind of dreamer that, despite seeing the world in his own way, make us understand the possibile truth of his ways, and the speciality of them; he's just an immature guy without a real sense of how things really work.

And that's a real shame, 'cause he could've easily become one of the most intriguing and charismatic characters seen in recent years in Cinema.

And what I really didn't like was this strange atmosphere that doesn't really build things in the right way, it simplifies so much the most relevant steps, that I started to think I was watching a Cartoon Show episode.

Really, it almost seemed something THE SIMPSONS could've written, and I'm pretty sure even better than this.

I mean, seriously, the decide to go to ONU, and ONU actually gets interested, so soon?!

And they wanna use the "Island" as a free world, and we only see them spend all the time just dancing? Where are we, in King Julien's Madagascar?

I only felt some shivers in the final 20 minutes, where they actually try doing something bolder, with the ship actually firing to scare them off, and they refusing to move away, but still it wasn't enough.

I'm really sorry to be harsh on this, but it was just a precious occasion, it really makes me just sad to see it wasted in such a ridiculous way.

America Latina (2021)

The overwhelming weight of uncertainty

[8/10 · 24 July 2022]

This is a strange, distressing, unpredictable, painful, touching and fascinating film, which stages the true power of the mysteries of Life and Mind, true regulators of our doubts and desires, the most unknown and shocking ones to ourselves even before to anyone else.

The D'Innocenzo twins continue their already impactful cinematographic journey with a third film that reconfirms their sincere desire to bring a direct and incisive cinema without accepting compromises and putting into play all their inspiration that allows them to realize every kind of story in a sincere and competent way, bringing a clear breath of fresh air to the cinema scene, not only Italian, of recent years.

A truly peculiar story that from the very first frame throws the viewers without warning into a quick journey without restraints, making them walk side by side with the protagonist himself, an ordinary man who leads a stable life and seasoned by success at work and by the unconditional love of his wife and daughters, 'til the most unexpected and chaotic discovery that will truly turn everything he knows upside down.

This is a real Thriller capable of putting in check and mercilessly hitting every certainty of those who take part in it, both as a spectator and as an integral part of the story, starting with Massimo, rendered by Elio Germano who as always releases his essence of a true actor able to adapt to any atmosphere, transmitting all the sensitive fragility of a man who has everything but who, forced to face such an incredible unexpected event, finds himself exposing even more the suffocating elements that surround his not so sure existence, despite the evident affection of his loved ones.

The direction of the twins immediately keeps us in suspense, always using very close-ups that directly crush the settings and faces to outline a feeling of ample vastness and at the same time of claustrophobic oppression, thanks also to the great photography and the unique sets that illustrate a Latina immersed in the glowing atmosphere of radiant growing instability.

Goodnight Mommy (2014)

Weirdness and Tension seen through children's eyes

[7/10 · 20 July 2022]

"Goodnight Mommy" is definitely one of the most peculiar Thriller (and movies in general) I saw in recent times, one of those for which it took me a while to fully start to enjoy it a bit more (even if I never found it dull or bad in any way)

It certainly has a unique identity, and it manages to raise many doubts as well many considerations, not just because of its story, but especially because of its style in direction and camera shooting.

The movie voluntarily induces a sense of high weirdness, changing between a slower sense of contemplation, especially thanks to the division between moments in open spaces and the claustrophobic ones inside the house, the most evocative of them all.

It builds a good contrast between the everyday life of two siblings playing together and the growing craziness.

The principal flaws I found were right in some of these parts, which I believe were going a bit too far, and being way too much confusing, like some of the mother's reactions, a bit too much severe and angry, or some other moments without a real reason to be there, like when the twins, while they're "interrogating" the mother, suddenly start to fight each other without a real reason.

And also some of the moments where they are outside the house, like when they enter in that "cave" at the beginning, I cannot sincerely comprehend it wholly, and also what was the reason to put all those bones and human skulls where they find the cat, was it a crematory? I think they just wanted to make it more disturbing, when actually there was no point in it.

But then again, this may be because, after all, the whole thing is seen through the eyes of children, so there's a perfect sense for these exaggeration of reality.

And yes, I do think many could be right in which the final twist could be seen as far too obvious from the start, and I confess they had already spoiled it to me before; but even if I didn't already know of it, I probably would've figured it out pretty soon ... maybe?

On the other hand, if it was put so obviously, then maybe the real point was to NOT have a twist, but simply to observe how the kid(s) would react to it, maybe we got wrong in searching for a mystery ... but then again, who knows?

This is one of those movies that, for some, might need more rewatches, but it surely shows an evocative and despite all interesting nature to be seen at least once.

The World Is Not Enough (1999)

An Intriguing step into a more modern aura (Actual Vote Should Be 7 1/2)

[7/10 · 3 July 2022]

I can see why this is NOT one of the most appreciated Bond movies, but at the same time I cannot see it as one of the worst.

Sure, it lacks the full dynamicity of a typical Bond adventure, especially if compared to Martin Campbell's direction in the first Brosnan title, but on the other hand I really appreciated the more intense focus on the dramatic parts, exploring the relationships between characters and their backgrounds, and the sense of darkness it brings, even if they still don't go way too deeply as they could have.

But this is in my opinion a very good step on for the series, trying new ways while staying faithful to its spirit.

Brosnan is always effective as Bond, even if maybe a bit TOO serious compared his other movies, while Sophie Marceau steals the scene giving us one of the most intriguing Bond girls ever.

Robert Carlyle does his job good, even if maybe not memorable enough, and I also enjoyed Robbie Coltrane's return from GOLDENEYE, and Judi Dench's major inclusion as M.

Of course I fully agree about the unconvincing and flat performance by Denise Richards.

So yes, a still immature take at a more tridimensional 007, but definitely embracing the better way to become it.

Straight Outta Compton (2015)

Not Deep enough, but still very Intriguing (Actual Vote Should Be 8-)

[8/10 · 27 May 2022]

In my opinion, the film suffers from a somewhat fluctuating pace, which does not explode as it could have, avoiding to go too deeply into the biggest issues, although gradually managing to illustrate very well the general atmosphere of the period and above all the combative soul of the band, embodied very well by the young performers, especially Corey Hawkins and Jason Mitchell.

Gray's direction is very good, but a bit wobbly, failing to balance perfectly, even without burying anything, a more standard style with more articulated and dynamic shots, especially during musical numbers that make the most of the power of this great music that made history, both inside and outside the musical environment, and showing the consequences of the excesses experienced by the group quite well.

Despite this, therefore, a very nice way to learn about this particular story, thanks to solid performances and intriguing musical numbers, maybe a bit too much simplified, but still able to perfectly break through the boundaries of any social oppression and barrier, halfway between the darkness and the light of fame.

Mozzarella Stories (2011)

A bit inconstant, but admiring Debut

[7/10 · 20 May 2022]

This was Edoardo De Angelis' first movie, and I was really interested in watching it after having viewed other projects where he served as director and/or screenwriter.

I think De Angelis is one of the most promising cineasts of contemporary Italy, maybe not as powerful as a Rovere or Mainetti's project, but not less intriguing or without a peculiar identity nevertheless.

This serves as a pretty good way to introduce his particular way of storytelling, by presenting a rich story where the more realistic and surreal atmosphere blend together to illustrate the dirtiest and tragic conditions on a social and human level, perfectly based in the Neapolitan territory, but also with a universal flavor.

The actors are all good, particularly Luisa Ranieri, the screenplay is less complex than it may seem at first sight, and the more evocative side if certainly offered by the particular cinematography by spanish DOP Ferran Paredes Rubio, and the sets by Carmine Guarino.

The real problem, which is still plausible given its nature as a first movie, is the tone: clearly the Director wanted to mix the Thriller/Crime genre with the comic grotesque, but sadly it doesn't come out as powerful as it could be.

I found the comedic tone more subtle than it should've been, I think he should've gone for a more "crazy" and explicit approach, to make the whole thing more unique.

But still, I think this is a very interesting result to recommend, it may be one of those movies that can give different answers to anyone, both good and bad, but still interesting nevertheless.

A Cure for Wellness (2016)

Seems like we'll need more tastes of the Cure to actually find something ...

[7/10 · 9 April 2022]

This is definitely the kind of movie you have to watch more times to actually get a remote idea of what it could mean to you.

This is not a flaw by any means, and I especially love those movies that play on symbolism, allegory and interpretation without giving exact answers. This one especially makes explicit reference to Gothic and Expressionist Cinema, and also literary works, with the most evident being Thomas Mann's ones, but it reminded me also of HEART OF DARKNESS by Conrad, PHANTOM OF THE OPERA and the fairytale of DONKEYSKIN

But since the first shot, I couldn't help but feel disoriented by the impact and greatness of the scenes: this is excellent camera work, but it also made me think of a big style excercise from Verbinski, whom I always liked as director.

Some scenes were really intriguing and evocative, like when Lockhart finally meets Pembroke in the sauna, or some scenes where he explores the sanatorium, or even when Hannah is in the pub with the locals and starts dancing and discovering more about her body, and also in the finale with that wonderful parallelism between her and Lockhart both descending the stairs towards the pool, and she has menstruations surrounded by eels, but many others seemed only to say "Ehy, look how majestic this movie can be!"

Also, but this might just be a minor nitpick, I couldn't stand the too obvious CGI used to make the deer and the eels, they seemed to much fake to me, and that is clear given the relatively small budget. And that goes for Isaac's final makeup too, that was just too much.

This is one of Verbinski's most personal works, if not THE most personal, and maybe it's because of this that he kinda lost his way of telling the story, which was always one of his better qualities as director, whether in more commercial movies like the PIRATES trilogy or more personal like RANGO.

Like others said, the movie cannot be lauded just on the basis of its almost impeccable technical side, or because of the actors' performances, in particular that by Mia Goth.

Also, I didn't have any problem with the running time, which I did not find excessively long like many said, and the screenplay was actually pretty good, but still confusing and incomplete without a real reason, at least for me.

I don't know how many times I'll have to go back to the sanatorium, and being exposed to the Cure, but I guess it won't hurt, and could tell me more about what I'm looking for ... but who knows?

The Loud House Movie (2021)

Lincoln doesn't need to be Special, the Movie does

[6/10 · 29 March 2022]

Honestly, this was like coming back to the first season ... which shouldn't be a problem, if only we didn't have other 4 season that showed some character growth, and above all clearly established that ALL the Louds, and not just Lincoln, were equally important characters

I mean, the show is called THE LOUD HOUSE, right?

And yet, the sisters here are really nothing more than bland side characters, while Lincoln ... Really?

We're back to "I'm the only boy, I feel useless, my sisters get all the attention ..."

Come on, I thought we were way beyond that now, Lincoln has already dealt with that and he doesn't suffer from inferiority complex anymore!

I wish the movie showed us something more original

The story could be interesting, but It was Just too simple and they didn't use the right elements.

Also, I wasn't really a fan of the songs, I don't think they suit the show's style (yes, I know they used them sometimes, but they were more "justified", since there was a reason they were sung, not like in a Disney movie).

Also, what's with the fantasy elements? A dragon, ghosts?! This is not what I expect from THE LOUD HOUSE, frankly.

Really, this is an inoffensive, but also pointless movie, that could've bene studied better.

Stick with the show and it will be enough.

Youtopia (2018)

The Search for Satisfaction, through the Body

[7/10 · 28 February 2022]

Director Berardo Carboni stages a small title which, although not entirely successful, offers interesting insights and several moments highlighted by the intriguing camera movements that illustrate in a direct and uncensored way the pain felt by all the characters, who literally and metaphorically undress in front of the screen in an exemplary way, starting with the young Matilda De Angelis who demonstrates all the frankness that hides the fragility with which she voluntarily lends herself to satisfy the fantasies of the users, and the relationship with the increasingly desperate Laura portrayed very well by Donatella Finocchiaro, while Alessandro Haber shows all the depravity mixed with pure dissatisfaction of a man destroyed by the apparent emptiness that struck him in his relationship with loved ones and in a life where all the most precious moments are senseless.

All the characters seek in the body, their own and that of others, an escape route, a solution to their problems of various kinds which, however, is not found as their the spirit is further buried depriving them of real fulfillment, trying to recover what has been lost with shortcuts that move away from reality, unable to build real relationships and imprisoned in the web searching an ephemeral consolation devoid of any solid concreteness, thus losing those few grams of human awareness, lowering with the growing risk of never getting up again.

Tideland (2005)

Gilliam's Darkest Work

[8/10 · 19 February 2022]

Terry Gilliam is never an easy choice for film watchers, because of his indubitable nature free of every restraint and full of the fullest Fantasy.

I'm not saying his movies are that complex, because actually in some cases you can easily understand the plot and its themes, even if surely they're not told in the usual way common moviegoers expect. But especially for this, his filmography deserves all the merits and views you can give, and I advice you to start with his most wonderful Classics, like BRAZIL, 12 MONKEYS or THE FISHER KING, before discovering this one in particular.

Here, though, we have Gilliam literally untied from any limit like few other times, so that he can give us back a story full of every single necessary element, a story where pain and fantasy are at their fullest.

I was actually surprised to read that this is based on a Novel, but even without knowing it I cannot deny it is a work made especially for Gilliam's hands, whether it's original or not.

I had some difficulties myself in following it at the beginning, despite understanding soon what was going on, but proceeding I couldn't help but feel totally amazed by the evergreen masterfulness of this true Storyteller, one of the few left in Cinema.

We could say this is the darkest version of his constant theme, the paradoxical and yet always relevant connection between Reality and Fantasy, always told in his other titles, in a more colorful and comedic way or even in a more serious and tragic way, but here it seems like he wants to focus even more on the grim nature of the world and how it affects the fantasy. And even in that, we can find moment of bittersweet love, maybe influenced by the harshest reality, but nevertheless a symbol of the deepest humanity.

And to better show it he couldn't find a better protagonist, young Jodelle Ferland is perfect in showing the peculiarity of a child left to herself, wonderful in coloring the world around her with her fantasies, and so dealing with the worst experiences in her life, which Gilliam slams us in the face with from the very beginning.

What we discover with her is a dark, ambivalent and disturbing piece that truly shows the real power of surreality and reality held in an incredible grip with which we can escape or face everything.

The Mystery of Oberwald (1980)

Worthy a watch especially for Monica Vitti

[7/10 · 9 February 2022]

This is not exactly what one would expect from Antonioni. This was probably a way to experiment with his style and his themes, since even in this the great director tells the apparent impossibility for human beings to construct solid and meaningful relationship.

Unfortunately, at least in my opinion, these themes don't come out as powerfully as in his previous and more excellent titles, especially the 4 parts of the "Saga of Alienation", as many call it, those same movies starring the main actress of this one, the one and only Monica Vitti, who recently left this world.

This movie reinforcers my belief that she was undoubtedly one of the most excellent actresses who ever lived, and that she gave her best in Dramatic roles like this, rather than in Comedy ones (where she was very good nevertheless, let's be clear on that) Maybe this is not a role as iconic as those she portrayed in the other movies she made with Antonioni, but surely is the best part of the whole picture, managing to transmit perfectly the sense of sadness and determination of a Queen that slowly starts to find a way to start living again, thanks to the peculiar relationship with a young man with a totally opposite character.

This makes me think this is the reason for which Antonioni decided to film this movie, because in this relationship there's evidence of impossibility of communication between two humans that try to complete each other, but are opposed by the rest of the world around them.

I like when a director tries to do something different with its style, but maintaining his themes and identity intact, and in this case I couldn't find them as I thought.

Not a spectacular movie, but worthy especially because of Monica Vitti and her always charismatic spirit. If you want to see it, do it for Her.

Legend (1985)

Definitely a Cult, that could have been more (Actual Vote should be 6 1/2)

[6/10 · 15 January 2022]

I just recently watched this, among the many Cults I missed; unlike for others, this wasn't part of my childhood, but even if it was, I don't think I would have liked it more than now.

I think Neil Gaiman already summarized perfectly the nature of this picture in his review. A lot of good ideas pop out across the story, but the plot can't seem to decide what could make them work fully. Too many times the story bits show a total different nature from the others, almost like they didn't even finish the script before starting filming it. So many plot points are rushed, the tone goes from childish to mature, sometimes is too simple, sometimes it tries to be more complex. Like a Fairy Tale should be, actually ... but this isn't the right way.

The characters too suffer from this, sometimes they try to be more tridimensional, and this offers very interesting themes, like with Oona and her "secret", and the inspiring moment in which she tries to coerce Jack with her fairy tricks, but he wisely resists, causing her apparent disdain ... and after just a few seconds, all is put apart.

Also Gump, from the moment he appears, he looks like a very cool character, and the actor is very fit for the role ... but sometimes he overacts too much, tries to be ambiguous and mischievous like a forest spirit, but not enough.

And Blix, she starts like a very important character, and then just disappears from the picture, without a real reason (maybe she appears more in the Director's Cut? I don't know)

And the least interesting of the bunch are the two protagonists themselves: Tom Cruise is just out of place, while Mia Sara manages to show the volatile and much more complex character of Lili, but even this is not enough, despite her shining truly in more than a scene, especially thanks to her eyes and the looks she gives.

But I can't deny the many merits of the picture, even if almost all relegated to the technical side. An almost perfect Fantasy world, full of pure Darkness, and that shows again the absolute power of practical effects, even after 37 years. And some scenes are truly entertaining, like the darkly humorous moment with Meg Mucklebones (Robert Picardo and the make-up are just perfect!)

And if I have to choose just one scene to explain the good sides of the movie, there's no doubt: the fantastic moment in which Lili is tempted, and starts that soave and yet unsettling dance number with the Black dancer, and in the end she finds herself dressed in black, in front of the mirror from which emerges in all his might Darkness himself.

And boy, THIS is also the main reason to watch the movie: Tim Curry is just a GOD, practically born for this role. Of course thanks to the magical hands of Rob Bennit for the makeup, but if it wasn't for Curry all would have been useless. Nothing but pure, Cinematic, Fantastical Magic!

And this is a real shame, because if all the other elements were treated better, this would have easily been one of my All Time Favorite Ridley Scott's movies, and maybe even Fantasy movies, who knows.

It will always remain a Cult, one to absolutely watch at least once in your life ... but what a Masterpiece it could have been!

Blood Diamond (2006)

What War can do to Humans (Actual Vote should be 7 1/2)

[7/10 · 13 January 2022]

Very few movies made me feel the true essence of violence and war, and BLOOD DIAMONDS is one of these.

Edward Zwick doesn't hide anything of what could seriously happen in a land like this, or any other land touched by the nonsense of War. I was impressed by how the movie truly shows you how there can be no good or bad humans ... just humans.

With their faults and responsibilities, but also wanting to get away from that Hell on Earth by any means necessary.

I loved how the dialogues, so simple and almost predictable, manage to be so powerful thanks to the excellent delivery of the actors.

Leo DiCaprio serves really well as Danny Archer, maybe not at his best, but surely in the right mood, especially in action sequences. But who truly shines is Djimon Honsou, the real protagonist of the story and the most charismatic character thanks to his backstory and the intensity with which he show the true pain that make hims go on to reach his goals, even if he perfectly knows that possibilities are rare and the ones around him don't truly intend to help him.

The violence is disturbing in the best way, not shying away to show how truly Evil it can bring, especially if by the hands of misguided children, forced to become ruthless killers (and yes, it show it fully on the screen!!)

It could have been a true gem, if not for some weaknesses, like some forced story moments, some parts in which things become a bit too sentimental, and Jennifer Connelly's character, not bad per se, but who could have been handled better (especially her remarks and attitude, way too smartass in certain points, and of course the forced romance with Leo)

All in all, a very interesting title I definitely recommend.

Fences (2016)

Is it Theater or Cinema? It cannot be both (Actual Vote should be 7 1/2)

[7/10 · 28 December 2021]

I wish to watch FENCES again in the future ... but possibly on stage, where it belongs, for now.

I must admit what many others before me said ... this movie cannot decide to which medium it belongs. It's not the first time, of course, that a stage play is adapted on screen, but at least in other cases the directors recognized that the theatrical style couldn't be translated the same way.

I understand that Denzel Washington took particular care in directing this movie, it meant such a lot to him that I can see all the love and care he put in bringing it on screen by staying extremely faithful to its roots. But sadly he couldn't see that changes needed to be made. And by this, he could easily maintain the same spirit of August Wilson's work.

Of course this is not a bad movie, and you can see it in things like ALL the performances from the cast, not just those by giants like Washington and Davis; everyone gives the best they can with their characters, and you can find sincere admiration for what they represent, or for what the story represents.

I can see why it is a Pulitzer winner, but still, all these great elements don't come out as powerful as they could be on stage, where things like the passing of time (in the movie, even if they say it, you don't feel like MONTHS have passed, maybe just a few days between a scene and another, kinda like in DUNKIRK, where even if they said the scenes on the beach lasted a week, you felt like three or four days) or crucial plot points could be staged way more naturally and with possibly more impact than the movie.

I'm not saying you can't make a movie out of FENCES ... but you should remember that you're making a MOVIE, based on a stage play, but still a MOVIE.

5 Is the Perfect Number (2019)

Good Intentions, but Not Enough

[6/10 · 23 December 2021]

It's not often I get to see a movie based on a book or graphic novel AFTER having read the original work.

In this case, it happened, so I managed to actually pay more attention to details, and to see how it would have been adapted on screen by its SAME author, nonetheless!

Now, this didn't necessarily mean that it would be a good adaptation, the mere presence of the original author in the production wasn't a benefit (it already happened with another Italian movie based on a book, THE GIRL IN THE FOG, directed by its author and with the same main actor as this one, and that didn't make it so well despite it).

Also, I'm not one of those who demand absolute fidelity from an adaptation, because like many others have said "What works on page, doesn't necessarily work on screen"

And author Igort, as the director, perfectly understood this, and tried to give life to his graphic novel making the right adjustments, reproducing most of its style and adding new elements.

On the bright side, of course we must give the greatest praise to the main trio of characters. As always, Toni Servillo managed to show again his impeccable versatility, managing to shapeshift completely, from the psychological side to the physical one, especially thanks to the make-up, giving us an old, but still aggressive and proud "Guappo" ready to have his revenge no matter what.

And alongside him, a surprisingly fitting Carlo Buccirosso, better known as a comedic actor, but that here manages to be perfectly fine as Servillo's old companion, still ready to join the fray.

And also a very good Valeria Golino, that maybe could have been even more powerful.

The movie is also worthy a watch thanks to the impressive technical side, from the sets to the colorful cinematography. That together manage to give back the idea of a Naples totally immersed in the Noir aura.

But alas, this isn't enough to make this title a success.

Starting with one of the most troubled sides, the direction itself, managed by Igort, that starts off pretty well, managing to give the idea of a surreal shadow on the gritty and Noir atmosphere. But still, we're talking about a newcomer, an artist who never tried to direct a movie, and this can be easily noticed in the way Igort tried to mix the styles of Comic Books and Cinema. But unlike other peculiar experiments like SCOTT PILGRIM, the result is really a fragile one, making the narrative rhythm of the movie quite confused and uneven.

This reflects also on the action scenes, that sometimes gave me the impression of being almost part of a Videogame, and that frequently switch between slow-motion and more rapid moments.

And the screenplay itself fails miserably in reproducing the sense of the original Graphic Novel, with many of its main points treated too much superficially and without the same strenght, almost bringing you to ask why the characters act in a certain way.

So, all in all, not a trashy movie like many said, but still a failed experiment that could have done more.

Still worth a watch, but maybe for just one occasion.

Border (2018)

A Tale of Acceptance of your "strange", but wonderful Nature

[8/10 · 21 December 2021]

A small title from Sweden which offers a very original, and in any case really interesting, reinterpretation of the Fantasy genre, placing it in a context that is at the same time very realistic, creating an excellent union that perfectly illustrates very concrete and relevant themes..

An heartfelt story about accepting all the many, rich aspects of our nature, learning to appreciate the many benefits, even if they may make you feel totally distant from others, and how to use them to help yourself and the others around you to go on.

Only nitpick I have is that the world building of the movie opens so many possibilities to explore, that I truly think it deserves a sequel, though I assure you the movie stands perfectly on its own.

An interesting and peculiar gem that transmits strong emotions and originality, and which deserves to be discovered and analyzed, even if this will prove to be very difficult for many, but not impossible to accept.

The Inner Cage (2021)

Who is really in Prison?

[8/10 · 21 December 2021]

Director Leonardo di Costanzo outlines a small, large mosaic that pushes us to delve into the maze of the true nature of man, the confrontation that makes everyone prisoners of the same, claustrophobic sense of alienation.

Prison is increasingly proving to be the place where hope is fatally annihilated, affecting both the inmates and the guardians themselves.

Led by the more than excellent Toni Servillo and Silvio Orlando, the two groups find themselves sharing the miserable space in which they find themselves in an even more "close-knit" way, due to a bureaucratic misunderstanding that postpones the event that would have marked a turning point for everyone to an indefinite date.

The "natural" order is increasingly questioned, leading the jailers to comply with the demands of the inmates, while strictly maintaining the necessary physical and moral distances.

All this starts an inner journey which, without revealing more than necessary, leads everyone to open up and recognize their humanity, constantly endangered and apparently buried under the most varied crimes that seem to determine a more than definitive sentence.

A formally flawless title, in which every aspect is enhanced to the fullest, managing in particular, thanks to effective shots, to magnify the apparently small space of the isolated prison, in the middle of the vast valley that completely isolates it from the outside world.

The only flaw I feel to point out is the invasive soundtrack, in my opinion too emphasized in crucial points without a real reason.

But in the end, this is an effective and certainly interesting study of human relationships capable of arousing very strong considerations and revealing, like its prisoners, the most hidden and surprising sides of man.