Film Freak - 583 Film Rankings
Member Since: Dec 21, 2014
Location: Milan, Italy
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|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. "
|73 T8||Tale of Tales (2015) - Nov 19, 2016
"A patchwork of its parts more than an all, for sure. Three fairy tales with a common theme (women, love, desire) mixed together by the editing but ending up necessarily having three disjointed ends. That said it's marvelous to watch, with a visual style that tries to find a third way for the fantasy different from the colourful or the gothic; more painterly, realistic, barocco; and has very fascinating moments, especially visually speaking, but not only. Occasionally boring, but it's art."
|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."
|65 T5||Her (2013) - Dec 21, 2014
"Well, my review may start and end with only one adjective: "kawaii", or "pretty" if you prefer. Too much pretty for a film that try, sometimes, to be dystopic. And i'm not talking about the pastelly design that is great, but about a relationship between a human and an AI that not create nothing interesting except a likeable love-story, and end up saying a mommy "stop play videogames, go outside!". I understand the will of don't use "AI-humans" cliches, but the film lack of real conflicts."
|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||Miller's Crossing (1990) - Dec 07, 2016
"What hits the viewer here is not the mastermind character of Tom: we already saw masterminds, and masterminds in noir. It's how fresh sounds the citationism of this film: so noir, so classic, and so refreshing in its characters study, in its over-the-top scenes that never cross the line inside a parody for one seconds only, but actually are a parody. It's manneristic, yes, but without became heavy-handed. Simply classy crafting by the Coens, a showcase of talent."
|1 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."
|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."
|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 'Fremdschämen', 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, Dolan is kitsch: excess without good taste. "
|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."