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Film Freak - 552 Rankings

Member Since: Dec 21, 2014

Location: Milan, Italy

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55 T2 Mommy (2014) - May 14, 2015
"It's like Boyhood. Few great ideas in a ocean of cliches (Oedipus? really?). But, more than anything else, there is the Dolan's style: naif; that doesn't leave you an emotional break until you feel 'fremdschaden', with obsessive close-up; that always try too hard to involve you; that put pop music in the movie like a fastidious caption for retards. The 1:1 ratio it's a smart but overall annoying move. Or you love it or you hate it, and i hate it, i see Dolan as excess without good taste. "
T1 Ten Skies (2004) - May 22, 2016
"The trick is very simple, but it works: if you stare the nothingness for enough time, you will give to the nothingness a sense. Because, yeah, it's how the human mind works, we need a convincing sense. So you can see the trascendence, the immanence, meta-cinema through these clouds, and probably Benning really has a very own peculiar view on Art. But the truth is one and only: these are ten skies recording in low-res, not cinema. Ten surveillance camera videos would had been more interesting."
90 T10 Seven Samurai (1954) - Dec 21, 2014
"The point where should start every director that want make an action/war/epic movie. A cornerstone in film history. It's all brilliant, but i think that the best thing is the perfect pacing: we have time to know people introduced to ourself, care about them, and then feeling sadness or happiness for them in the end. K. is like a farmer that let grow epicness before harvesting."
99 T10 A Clockwork Orange (1971) - Dec 21, 2014
"Homo homini lupus: Kubrick shows a world where the state practice the same violence that it fight, only in legalized way; Where the homeless man who asked order and respect not hesitate to retaliate on its own if it can; where the intellectual who suffered the same fate mask his thirst for vengeance under ideological necessity; Where the priest is actually "good" just because it fear another kind of violence, in this case otherworldly: the hell. You can control violence, not erase it."
85 T10 The Act of Killing (2012) - May 24, 2015
"You can understand why is so interesting simply reading Wiki. Only the confessions of these "gangsters" - like they call theirself - are extraordinary: different people that cohabit with their common past in different ways. But is extraordinary also to what these depositions lead to: to doubt about goodness of the humanity free will; and to medidations about how powerful can be the cinema: Anwar find truth and chatarsis (only) in it; but in the dark past he found also ispiration for his crimes."
55 T2 The Thin Red Line (1998) - Dec 21, 2014
"A new-age evangelization by Malick with an annoying voice-over. Dialogues, introspective scenes and the message are less deep than what Malick probably think. Good directing of course, but i hate the pomposity and pretentiousness of this movie. Say "I hate war, we are bad, nature is good, come back to live in the forest" it's too easy and a bit dumb: the "noble savage" is outdated. And not a character who screams "shut up fucking poets and go to kill some gook!", i would have appreciated that."
85 T10 Bicycle Thieves (1948) - Dec 21, 2014
"Remember: this film, and neo-realism, start from a marxist point-of-view, opposed to the unrealistic fascist propaganda-movie where Italy laid for 20 years. Antonio is a proletarian, with even a sympathy for communism. So, all that journey throughout Rome is not useless, is a "society picture" of a post-war Italy. The end, is the cry of pain of the people. The guilty is the social injustice. I think that in the mind of De Sica, all this came first, above the eternal story of a father and a son. "
80 T9 eXistenZ (1999) - May 06, 2016
"What many people don't understand it's that the cheesy lines, the unlikely situations, it's because your are watching a twisted and self-ironic RPG game. It's Cronemberg, so it's not simply a film that play on virtual reality plot-twists, but on what define life, what makes us enjoy disconnect from reality and why we feel it like a taboo (see the asshole - bioport ref.), why we can't really disconnect from our eXistenZ even if we call it transCendenZ. The impotence of humans and cinema. "