There are so many plot holes and illogical twists that I could easily drain my pasta in it, yet I found the movie unexpectedly funny and goofy in a cute way (with the exception of a couple of embarrassing gags like the Denzel one). The reveal comes too soon, though: once the characters realize they are actually in danger, the plot gets all over the place, and the characters keep doing illogical things. Somehow, it was more believable as everyone was convinced to be playing a game.
“Smile” is a tame horror like many others, drawing thematic parallels to movies such as "It Follows" by employing a supernatural element as a metaphor for the relentless transmission of trauma from one victim to the next in an unending chain. While things tend to get inadvertently comical in how they rely on the usual stereotypes, the direction manages to captivate, if not outright fascinate. The inclusion of eerie camerawork and bizarre framing adds to the film's appeal, delivering a handful of genuinely chilling moments.
An unexpectedly sharp dramedy that skillfully delves into the challenges emblematic of the current 20-30-year-old middle class. While things might have gotten slightly manipulative during its final beats, the film as a whole remains finely balanced and funny throughout, speaking up for an existential condition that is often overlooked or misrepresented in mainstream entertainment.
Right after watching, “Oppenheimer” leaves you the lasting impression of having just watched a perfectly crafted film. However, I still find it hard to connect to the material on a personal level. Nolan gives it all, but his tropes look as elegant as they feel mechanical, capable of achieving their effect only superficially. The film leaves you amazed by its achievements as a piece of cinema, but struggles to have an impact on an emotional, human level. Nevertheless, "Oppenheimer" remains a meticulously crafted film, so rich in characters and events that it never feels dragged out despite its three-hour runtime. The first half felt even too fast-paced, frenetically bombarding the audience with so many names, notions, and fanservice for science history nerds that it disorients. Luckily enough, the pacing slows down in the second half, allowing the audience to breathe and connect the dots in preparation for the crescendo in tension accompanying the last beats. Ultimately, despite failing to get a moving insight into Oppenheimer’s inner world, I find it impossible not to be fascinated by the intricate framework built around the character.
A woman meant to be sent to hell finds herself in paradise due to a mistake, and tries the impossible to become a better person and remain undercover. The dynamics and world-building at the core are delightful, an although the humor felt a little repetitive with some of the characters (Jianyu in particular), the jokes are usually good. While the ethical questions presented are often oversimplified, they still offer enough to chew for a light comedy show. The first season exposes some weaknesses that are ultimately addressed in the finale, coupled with a smart trick to sets the stage for multiple seasons of (hopefully) engaging storytelling.
A policeman and a mobster collaborate to capture a serial killer. A horrible title for a rather mediocre film, whose banality is accentuated by an unbearably childish protagonist. Not worth anyone’s time.
Here Mads plays a retired soldier who, despite obtaining royal permission to cultivate potatoes in Jutland, encounters a series of formidable challenges. While this might sound like the dullest premise ever, the film unfolds into a gritty and meticulously crafted period piece led by an exceptional cast. The villain might feel a little over the top for the context, yet he manages to steal the show in every scene. I liked that the events tend to evolve on the bitter side diverging significantly from the corny narratives often seen in Hollywood.
The film, admittedly dialogue-heavy and occasionally slow-paced, compensates with a few moments of impactful action that consistently leave a lasting impression.
Toro :metal_tone1:
Stupid as funk, but elegantly flawless in anything it aimed to do.
A cranky teacher beaten down by life finds himself reluctantly playing babysitter to the rebellious students left at boarding school during the holiday season. We already know where the film is headed and how the characters will develop. Yet, everything is written and executed with commendable elegance and taste. The cook’s subplot felt slightly heavy-handed, but other than that, the film strikes a good balance without feeling too rhetorical or schmaltzy, providing the right amount of bittersweet good feelings for the holidays. Despite the early 70s vibes, anything but obsolete.
While pitch-black humor has always been a defining element of Lanthimos' films, his approach has typically leaned towards subtlety and wryness, often paired with deadpan delivery. However, in "Poor Things," there is a noticeable shift towards more straightforward comedy, eliciting laughter from the audience with many moments of humor. Even when the jokes are on the silly and juvenile side, the overall impression is that of encountering a sophisticated work, where the context and, notably, the entire visual and expressive dimension play a crucial role. The runtime could have been more compact (it tires a little towards the end), but we are undoubtedly facing a film playing in a league of its own, capable of fascinating a wide audience despite its quirks and exaggerations. It’s a shame the first part is in black and white, which flattens the stunning visuals and colors of the sets and costumes.
A serial killer on death row asks a misfit university student to find the real assassin behind one of the murders he’s been accused of. Unlike the usual plot where an innocent person has been wrongfully accused of committing a crime, this time we have a man who already confessed the rest of the murders, and that does nothing to hide his nature. However, he insists that there might be a second killer on the loose, and that only someone who can understand his mind will be able to figure it out.
The film is composed of alternating investigative phases, conversations with the killer in the style of "The Silence of the Lambs," and fragments of the protagonist's daily life in a sort of coming-of-age film style. Despite the plot initially falling victim to continuous clichés and conventional tropes, towards the middle the film begins to reveal its true intentions, surprising the viewer with continuous twists and even revelations that partially make up for things that felt corny in the first half. More than the murder mystery, it’s the subtle way in which the film tries to let you enter the mind of the killer that fascinates. The result is a flawed but intriguing film, enhanced by an inspired direction and several visually appealing ideas. The screenplay might struggle to live up to the plot's ambitions, but at least it manages to shuffle the cards in an interesting way. The only real tragedy is the look and acting of the long-haired guy.
"Past Lives" aims to blend the usual love triangle with relatively modern themes such as emigration and cultural identity within our globalized society. At times, the old flame from Seoul acts more like a symbol of the protagonist’s Korean background coming back after her, rather than a fully developed character. While the main narrative plays out smoothly and is supported by solid writing and realistic dialogue, the surrounding themes felt somewhat sketchy, only partially touching on the true challenges and sacrifices of living abroad for many years. The direction also tends to adhere a little too much to the usual conventions and tropes of independent cinema by fresh film school graduates. In short, an undeniably tasteful and heartfelt film that, could have been much more.
An aspiring mangaka becomes popular by transposing the character of a serial killer he encountered in real life. Flattered, the killer decides to commit a series of crimes inspired by the manga secretly dedicated to him. Life influences art, and art influences life? The central dynamics are quite interesting, and I must say that even visually, I noticed a greater effort compared to the typical Japanese mainstream blockbuster. However, the stereotyped execution and corny writing make the film too toothless and predictable, especially in portraying the killer. Many corny situations seem to be directly taken from a manga... and indeed, it looks like the film itself is also adapted from a manga. Despite the flaws, I found the viewing to be quite entertaining nevertheless, and I am also quite sure it’s going to make some impact on a younger audience.
A goofy comedy that reimagines slasher stereotypes by simply reversing roles. Through a series of coincidences and misunderstandings, the good-hearted rednecks will end up becoming prey for enraged college students. Although there are quite a few amusing gags, I found the film as a whole a little dull, in particular lacking a visually compelling direction. Nevertheless, I still feel inclined to give it a slightly higher rating due to the likability of the two protagonists and the noteworthy performance of one of the students.
A mediocre and just a tad unlikeable man (but played by an immense Nic Cage) becomes a "meme" sensation as he is recognized by thousands of people as the mysterious man appearing in their recurring dreams. The film, while proving to be an exhilarating and sharp analysis of popularity in modern internet society, felt like it struggled to make a point in its second half, coming up with sometimes brilliant, sometimes lackluster, ideas. It's one of those films that never disappoints, but that could have offered more.
The audience of a shitty theatrical play stands up and begins to complain to the cast. Thanks to the relatively short runtime, I was never bored, but it felt like a one-note gag put together without much effort. It could have been a tragedy with a different actor taking the lead.
A compelling courtroom drama that skillfully navigates through ambiguity and plays with biased assumptions, providing a viewing experience that may vary in interpretations depending on the audience's perspective. The film is expertly crafted to immerse the audience in the characters' authenticity, as their flaws and private lives are laid bare in the public eye.
Sometimes, the prosecutor went a little overboard with strangely hilarious results, but the well-paced dialogues and strong performances -yes, even from the dog!!- manage to keep everything gripping and believable throughout. I am not completely sure if the final reveal and subsequent twist in the narrative really had any impact on the trial, but I found it a little out of place and slightly unrealistic for my taste. That would be the only flaw in an otherwise solid film.
This level of quality should be the standard for mainstream movies, but unfortunately, it seems to be a rarity.
A straightforward (and somewhat naive) suburban love story presented with deadpan humor in a bleak, hyper-stylized fashion. Mostly worth checking out for some delightful color choices and framing. While it may lack a bit of bite, the short runtime makes it quite enjoyable and accessible.
A couple of seasoned cooks rediscover their passion in the Loire Valley in the late 19th century. Sounds like the premise of the sentimental movies my Grandma used to watch, but instead, we are talking about a work of a rare sensibility, delicacy, and balance. Like the dish at the center, the magic sparks from the slow and laborious simmering of simple but carefully calibrated ingredients. Perhaps more than half of the runtime is spent in the meticulous portrayal of the daily tasks of the two, in an exaltation of slow food both in preparation and consumption, cradling us with the astonishing beauty of direction, the golden warmth of diffused light, and the little sounds coming from the kitchen.
Despite the relatively limited space reserved for actual narration, having spent so much time in the kitchen with the two protagonists allows us to grasp even what remained unspoken, in a relationship that is at times so discreet as to seem idealized, at times tenderly carnal, at times strangely ambiguous in overlapping romance with professional respect. Through the preparation of dishes, we have seen them renew their complicity, subtly flirt with each other, but also elevate themselves individually as in a sort of ascetic ritual.
Undoubtedly, one of the best uses of food as the main expressive and communicative vehicle for a human story, without being excessively condescending or unnecessarily artificial. Between this and "Perfect Days," I am rediscovering a considerable cathartic potential in the depiction of manual labor in film. It might lack the emotional waves of a melodrama, but it makes you lose track of time in the same way as when you spend hours on YouTube watching people build bamboo houses.
The traumas of post-war Japanese survivors are portrayed in a diametrically opposed manner to the glossy Godzilla film released around the same time. The adults have completely lost it, appearing much less reliable and adaptable than the children. A very small film, yet capable of leaving a mark through its imagery and, above all, the exploitation of one of the world's most telegenic kids. The only scene was the final conversation with the female lead, a bit too melodramatic for my taste.
DiCaprio’s expression for the whole movie: >8 (
The story is intriguing and has been staged with the right tone, not overloading with drama but also not depriving us of the beauty of the direction. However, despite an excellent first half, the film runs out of fuel and rapidly starts deflating in the last 90 minutes. I believe the problem lies in the fact that the film doesn't hide anything from its audience from the very beginning, erasing any narrative ambiguity in what’s unfolding on screen. As a result, the entire final wrap-up with the investigations and the trial ends up feeling exhaustingly redundant, in the way it reveals and rephrases all the things we have already noticed ourselves.
Despite the limits of the screenplay, which rarely delves into the characters’ inner thoughts, the actors are often capable of adding additional nuances to their roles. From this point of view, the female lead is severely penalized, left too much aside to assume the role of the martyr in a film that initially aimed at using her relationship with her husband as an emotional anchor for the audience.
The “perfect days" of a Japanese man who cleans public toilets. By the way, I had the honor of seeing the movie just a few meters from the locations!! The protagonist, Hirayama, seems to enjoy a solitary life characterized by a meticulous routine, where he finds joy in small things like taking care of plants, listening to the audiotapes from his young day, enjoying a drink at his favorite izakaya... or just completing his work with rigor. Then, various inconveniences and variables end up sabotaging Hirayama's perfect routine, suggesting to the viewer not only details about his past, but also the possibility that, deep down, he may know that happiness doesn't truly reside in small daily habits or in accepting a modest life. At least, that's my interpretation, influenced by my own life values. Hirayama's expression can be read in many possible ways.
The film never explicitly reveals its true intentions, becoming fascinating precisely in its ambiguities. You will just need to endure the pedantic repetitions during the first hour or so.
The more atmospheric approach, coupled with a renewed focus on cases rather than the character of Poirot, manages to make the film slightly more bearable than its predecessor. However, the case still comes out as somewhat dull. Once again, easy clues are scattered at the beginning in service of the protagonist’s sudden illumination at the end, making the parade of interrogations in the middle a time-wasting effort aimed at diverting the viewer's suspicions. There is never a moment when we truly find ourselves investigating alongside Poirot, nor wondering at the irrationality of the events unfolding on stage.
There’s hardly anything redeemable in this movie. A complete mess in every possible way, not so much because it wants to pay homage to the tacky tropes of tokusatsu, but because everything has been conceived and executed poorly. Even the cinematography is terrible, with even grainy iPhone shots interspersed with soap opera-like glossy sequences.
If "renewing" the franchise means giving it a structure akin to Anno's previous works, incorporating poor CG at every opportunity, and turning the hero into the government’s hound, I guess I will stick with the old (not that I was a fan). It’s hardly anything more than lazy tropes put together in the most confusing way possible. An unapologetic failure with no chance of redemption.
A goofy comedy that aims to use the relationship between Renfield and Dracula (here played by a delightful Nicolas Cage) as the ultimate embodiment of toxic co-dependent relationships. The action sequences reveal an unexpected taste for splatter and a genuine love for tacky horror, while the more reflective moments focused on the human characters leave something to be desired, both in terms of writing and execution. The premise, though interesting, struggles to bear the weight of a feature film. Nevertheless, it remains an enjoyable work for enthusiasts of the genres it pays homage to.
The first half is quite enjoyable, masterfully staging such an absurd idea as a Barbie live-action with a language and tone perfect for its target audience. Granted, it's a kind of humor that is metanarrative and strictly generational, destined to age at an alarming rate. Yet, it's more than enough to crown the film as the queen of the past summer.
Unfortunately, the problems emerge once the story shifts to the real world, where the narrative tends to overload, veering into chaotic exposition and overly simplistic resolutions. The fact that the film itself invites you to "not think about the details" says a lot. Plot elements presented as potentially significant, such as the conflicted relationship between mother and daughter, or even the entire role of the president of Mattel, end up being set aside without explanations, perhaps in an attempt to make room for more discussions on patriarchy or to indulge in movie quotes and musical digressions until the very last narrative beats.
Regarding the infamous feminist overtones, I remain rather conflicted. At times, the film seems genuinely intent on taking revenge against the patriarchy, while at other times, the monologues and speeches become so didactic and heavy-handed that they almost seem self-mocking. It's as if the film’s point was not simply to condemn misogyny but rather to point the finger at the extreme currents on both sides. In the end, it's not as if the Barbies came off any better than Kens, or real-life men for that matter. It might just be a delirious overreading on my side, but the fact that the infamous monologue of the mother has alienated millions of men and brought even more women to tears would only confirm my thesis that even if "Barbie" may have proven to be superficial in multiple instances, it still showed depth that the audience it’s sardonically making fun of.
If even the Breaking Bad movie has been dismissed as useless, just think about what could happen to a Sopranos' movie coming fifteen years late. Indeed a muddled and out of focus prequel that, instead of telling us more about the canonical characters or the environment they came from, timidly lingers on secondary and ultimately inconsequential figures, limiting fanservice to minimal interactions between the cast and the reenactments of mythological episodes from the Sopranos’ lore (like the one Tony's father shot a hole through his mother's hair). It might have worked as the pilot for an anthology miniseries, but as a standalone film, I struggle to grasp its purpose for both new and old audiences. And then there’s a remarkable performance by Ray Liotta in a quite interesting dual role.
A pretentious C-list actress gets the absurd idea of observing the private life of the woman she's supposed to portray in a biopic. For many viewers, "May December" might be easily dismissed as a chronic case of "much ado about nothing." In reality, the film is scattered with subtexts that are anything but trivial, as it seamlessly paints portraits of characters as realistic as they are inscrutable in all their nuances, spicing everything with a pitch-black yet remarkably subtle cynicism and irony. The more I think about it, the more it fascinates me.
Practically a silent film, in which the obnoxious voice-over narration aims to comment on the images as if in a sort of laboratory report on eccentric experiments mixing telepathy and sexuality. Despite the seemingly parodic intentions of the work, the sixty-three minutes of the film felt like at least six hundred and sixty-six. Although there are a few tasteful shots worth your attention, I don’t really think the whole thing can be worth anyone’s time.
The use of elements as a metaphor for social dynamics in the human world struck me as remarkably undercooked, decidedly better exploited in other works. Although it’s worth mentioning that the social critique plays a very small role in the film, as the world presented on “Elemental” has already achieved a certain level of integration between cultures, to the extent that it’s the previous generation of immigrants to adopt a cynical position. Also, the film manages to redeem itself on several other fronts, particularly in portraying the protagonist's conflicts, both in her romantic and family relationships. Of course, everything unfolds and resolves in an oversimplified and wildly optimistic manner, yet I must admit that as a son who left his family to pursue his own path, it’s been hard to bear the tears.
