4v291o

A strongly autobiographical film for sca Comincini, in which she recounts her relationship with her father Luigi, one of the great directors of classic Italian cinema. The story is shown with honesty and delicacy, not disdaining the most critical phases of their relationship, concentrated in the second part, and showing their love for the world of cinema. It is clear that for the director this is the realization of a very important project, and this is evident in the attention to detail and stylistic choices of many of the most important scenes (the night shots of The Adventures of Pinocchio, for example). Fabrizio Gifuni, who gives an excellent performance and gives the character of the father an unusual dimension, also deserves a note. I am not a fan of the director, but this is probably her best film (and obviously not by accident), so I can only be pleased.

A story of rebirth and growth, set in early 1950s Indiana among youth basketball teams. Inspired by the true story of Milan High School, it certainly does not shine in innovation or originality and does not hide its positive tone, but it remains a solid film about the world of sports and the ion that sets fans apart. And if you are a part of it, as I am, you cannot but appreciate it and enjoy it for a couple of hours. It is also well directed and has a fine cast, in which the performances of Gene Hackman and Dennis Hopper stand out. The soundtrack is also excellent and accompanies the boys' exploits in the best possible way. An enjoyable film, well worth spending time on.

For a film made by Pixar, I definitely expected more. As usual, the idea behind it is very interesting. Unfortunately, the overall impression is that its potential has not been expressed, with a decidedly underwhelming first half and a generally uninteresting and very predictable story. There are occasional glimpses of the studio's magic touch, but these are isolated instances. The themes are always the usual ones, such as the struggle against prejudice and collective peace, without originality. Visually, on the other hand, there is the usual spectacle for eyes and ears, and it is a real pleasure to discover the visual gems hidden in each scene. More generally, Elemental is not a bad film, but the talent involved and the underlying idea would have definitely deserved more. Thus it is simply a disappointing exercise in style.

Here we are with one of the most anticipated films of the year, namely the final chapter (perhaps) in the Mission: Impossible saga. It is a direct sequel to Dead Reckoning and retains all its merits but also its flaws. Starting with a villain who, although it manages to put the world on the brink of nuclear catastrophe and one step away from annihilation, is somewhat underwhelming and lacking in charisma. The script is good and well-structured, although I would have preferred more action, especially in the first half and given the extended running time. That said, The Final Reckoning is a good action film, with sensational direction by Christopher McQuarrie (the spectacular underwater part is an example, as is the aerial combat) and a simply stunning Tom Cruise. The rest of the cast also does a good job but his blind dedication to the character of Ethan Hunt is incredible. I also greatly appreciated the references to the earlier films that give the sense of closing a circle. While far from the quality of the best of the saga, it is a good film and a worthy closure. Although I believe (and hope) it will not be the last.

M:I ranked

A poignant drama with a strong emotional impact, dealing with burning and certainly not simple issues such as bullying, the rigidity of Japanese society, and self-acceptance. Director Hirokazu Koke-eda, whom I have already come to appreciate in Shoplifters and Broker, gives us an excellent, intimate and delicate direction with many remarkable scenes. The credit must be shared with the soundtrack by Ryuichi Sakamoto (to whose memory the film is dedicated), which accompanies us throughout and is stunningly beautiful. The real strength, however, is the screenplay, which is divided into three parts, each concerning one character's point of view. The special feature is that everything shown is true, with no conflicting versions, and the story unravels as secrets come to light and the truth questioned, until the ending, which is both poetic and devastating. Unmissable.

A sequel to the 1960s classic, a disconnected episodic film about the figure of the average Italian in the 1970s, with the sensational trio of Dino Risi, Ettore Scola and Mario Monicelli directing. And the results can only be positive. The general tone varies from the comic to the tragic and grotesque, with some episodes more successful than others (and this varies according to personal taste) but all nevertheless valid and worth watching for one reason or another. The cast consists of extraordinary actors and their various performances are splendid. From Vittorio Gassman to Ornella Muti, from Ugo Tognazzi to Alberto Sordi. The latter in particular gives life to some iconic characters and scenes of real anthology, such as in the sad episode Come una regina. Good film and good sequel.

An obligatory rewatch in anticipation of the release of the last film in the saga. I confirm what I said at the time when I first saw it: a great film, with all the characteristic features of the series and full of simply spectacular action scenes. Director Christopher McQuarrie is now a veteran of the series and proves it with a film that is well structured and even in the most frenetic scenes is never confusing. The cast is the usual guarantee with a great Tom Cruise, an unimpeachable host. In contrast, the choice to replace Rebecca Ferguson with Hayley Atwell as the female sidekick did not appeal to me but that is because I appreciate the Swedish actress a lot. The script works well throughout but in my opinion is not at the level of the other chapters, mainly because of a villain who is not particularly successful. However, this is a minor flaw because Dead Reckoning is a spectacle from the first to the last minute and I can’t wait to watch the sequel.

M:I ranked

Intrigue, secrets, twists and turns. The main elements of a thriller are all there. And indeed Conclave is a good movie, solid, well written and directed with incredible skill. The work done by Edward Berger behind the camera is truly sensational, with several noteworthy scenes and, aided by a pounding soundtrack, helps to create an atmosphere of suspicion and doubt, very appropriate for films of this type. The cast includes Stanley Tucci and Sergio Castellitto who give two good performances but itRalph Fiennes is the best and literally steals the show. The screenplay is varied and very interesting, with several good ideas, but also a somewhat disappointing and rushed ending, given the expectations. Despite this flaw, a good film, original and exciting.

I have already come to appreciate director Ruben Östlund in Force Majeure and The Sqaure. Therefore, I was hopeful toward this film, although I was not quite sure what to expect. Upon finished viewing, I cannot say that I was disappointed, although I could not quite put it into context. I definitely enjoyed the first part, which was cynical, comical, and well written, as well as the obvious satire on class and gender struggle. The characters are excellent and well characterized, each representative of a particular class. From a certain point on there is a total change of , which did not entirely convince me. Beyond a few scenes that seem to be taken straight out of the worst of Roman Polanski's The Palace, and while I understand the role reversal and all that goes around it, it didn't seem to live up to the rest. Nothing tragic but also nothing exceptional. However, I enjoyed the direction, characters, and cast, and the considerable length did not weigh on me, so overall my rating is positive.

A cab, two richly talented actors, an interesting script, and, in the background, a nocturnal New York City. That's all it takes to make a good film. So director and screenwriter Christy Hall (in her debut!) must have thought, and given the end result, I can only agree with her. It is a film with a slow pace, based almost exclusively on dialogue between two complete strangers and their life experiences. There is no real story but it is much more like a confession of one's secrets, joys and sorrows. And it is all so well realized that we can only be satisfied. Sean Penn and Dakota Johnson are outstanding as taxi driver and enger and demonstrate remarkable chemistry. The rest is done by a solid, detail-oriented direction, adept at capturing the actors' talents while taking full advantage of the cramped spaces of a taxi cab. A beautiful and unexpected surprise.

My bad relationship with Netflix and action movies continues. It has been a long time since I found one worth watching. Havoc is the latest failure in this interminable sequence and, given the vast resources involved, is an inexcusable waste. In what movie that aspires to be a mix of John Wick and The Raid do you spend a full hour of pointless introduction before seeing a single action sequence worthy of the name? What's more, with a script that is trite, forced and has been seen countless times before. The two main action scenes are very good, so why not insist on this path? Instead of taking advantage of the directing talent of Gareth Evans you choose for this disaster. Then there is Tom Hardy, that I think is a fantastic actor, and perhaps his performance is one of the most positive aspects. But it is too little to save this disappointing film from the abyss.

A tender story of love, growing up, and coming of age, excellently directed by Yoshifumi Kondô and masterfully written by Hayao Miyazaki, for another Studio Ghibli success. Shizuku and Seiji's story is the kind that warms the heart, leaves a smile on the face, full of positive feelings and situations, without ever slipping into the trivial and melodious. Miyazaki's talent in the screenplay is ever present and gives the film its usual irresistible magic, also thanks to a very good graphic quality. The soundtrack is also remarkable, with several versions in John Denver's immortal Country Road. Not on the level of other studio films but an exciting experience that I recommend.

I have already had the opportunity to see director Jeremy Saulnier at work and appreciate him in his violent and distinctive Green Room. Sorry to say that in this case there is little trace of that talent. Blue Ruin in fact is a revenge movie like so many others, unoriginal and rather anonymous. It is not bad and has an interesting and well-crafted first part, but the rest did not strike me as anything worth spending too much time on. Even on the level of direction, one of the strengths of the other film, I did not find it compelling. I understand that in this case the budget was tight but it left me with little. Macon Blair as Dwight gives a suffering performance, perhaps not always convincing, but functional to the plot and the plight of the everyman against the injustices of life. Needless to say, I expected more.

Between social drama and noir, Bitter Rice is rightfully considered one of the most representative movies of Italian neorealist cinema. And it is so thanks to Giuseppe De Santis' splendid direction, simple, realistic and effective in transporting us among the rice fields of northern Italy in the 1940s, following the Mondine and their seasonal work. The cast is also excellent and brings to success actors such as Vittorio Gassman, here as the devilish Walter, and Silvana Mangano, the splendid and dreamy Silvana. The screenplay is good, perhaps a bit event intensive given the genre, but solid and capable of delivering memorable scenes. It is an excellent film, a magnificent snapshot of Italy in those years and a well-made noir.

The idea of uniting a series of more or less minor characters seen so far in the MCU and devoting an entire movie to them was not one I would have bet money on. Instead, despite having obvious limitations, Thunderbolts* succeeds in doing what it was created to do, which is to entertain and amuse throughout its duration. The group of outcasts works and the irony of the characters is the film's best weapon, delivering truly hilarious scenes, like the first meeting for example. More generally, the first half is the best, more lighthearted and playful. Not outstanding but good. Then the tone becomes more serious and I felt that the film works less, just as I would have preferred a better villain. However, given the slow drift of the MCU, I can only be satisfied. Special effects as usual stratospheric. 

One note: while waiting for the return of Steve Rogers, John Walker is a better Captain America than Sam Wilson.

A thriller somewhere between the erotic and the psychological, perhaps not too original and innovative but disturbing enough to entertain in a more than worthy manner. The screenplay has some forcings and simplifications, also quite obvious, and an ending that is not exactly the best, but it works in maintaining a tense atmosphere throughout. Most of the credit is due to the cast and particularly to the diabolical Glenn Close, a character I found very disturbing at times in her obsession with Dan Gallagher, played by a convincing Michael Douglas. I understand the cult status of the 1980s but to this day it does not impress as it perhaps did on release. However, if seen without high expectations, it gives some satisfaction and keeps you glued to the screen.

It has been many years since I first saw this movie and my memories were rather fuzzy. So I rewatched it with pleasure and confirm my positive judgment: The Machinist is a good thriller, well directed and with an excellent script, full of twists and turns and pervaded by a very intriguing atmosphere (in some aspects similar to Memento). In the cast shines the star of Christian Bale, author of a monumental performance and an impressive physical transformation. Among the flaws I count only the soundtrack, which at times did not seem to fit the context. However, these are only isolated instances, and this movie is undoubtedly worth watching.

I understand the nostalgia of summers at the beach in the 1960s, atmosphere and all, but I have a hard time understanding its success with many people. There are few and boorish laughs, with the usual stereotypical characters (and related actors) lacking any originality. Not that I expected who knows what novelty in the script or direction, but apart from a few scenes little is saved. The rest is entirely avoidable. And this is a pity because a similar but differently set film like Christmas Holidays is literally on another level, even though it has its major limitations. The soundtrack is obviously splendid and so full of unforgettable songs that it is worth seeing the film for that alone. Otherwise, there is nothing else.

A beautifully made drama but one that fails on the emotional side. It is certainly good visually and has a nothing short of perfect Annette Bening as Grace, a woman who is left by her husband after nearly 30 years of marriage. Hope Gap also offers some interesting food for thought on the subject of the relationship between two people and life after a painful separation. However, it has the shortcoming of not engaging as much as it should: behind a mask of poetry and catchphrases, involvement is close to zero, and although the film is never boring, the fate of the characters did not particularly interest me. Seeing Bening act, however, is always a pleasure so the overall result is positive.

My expectations were low because I thought it would be the usual pointless action movie. Instead Land of Bad turned out to be a good movie, perhaps with a simple and unoriginal script, but solid and well directed by William Eubank (already seen in Underwater). The action scenes are highly spectacular and some are truly remarkable (I'm thinking especially of the attack on the landing zone midway through the film), with devastating explosions and clever use of color and slow motion. The cast is merely convincing without ever particularly shining, with the exception of the great Russell Crowe, always the usual guarantee. Of course, don't expect an unforgettable experience, but those looking for quality action have plenty to enjoy.

A disaster movie like so many others, trite and pathetic, despite the fact that the basic idea is not bad at all. Unfortunately, this idea was developed into a terrible script, forced and full of holes and inexplicable situations. Given the level, one wonders if no one has reread it. Completing the picture are predictable and poorly characterized characters and uninspired direction. The cast does not particularly shine. As is obvious, the special effects are simply spectacular, and there are several splendid destruction scenes. These are the only reason why Geostorm is worth wasting time on. There are much better made alternatives.

I have already appreciated the work done by the two directors Josh and Benny Safdie in the splendid Uncut Gems. It is no surprise, then, that Good Time is a good film, with a successful and interesting technical compartment that demonstrates an uncommon talent and style. Connie's nocturnal journey in a desperate attempt to free her autistic brother Nick gives some noteworthy scenes, with great impact and a good sound compartment. Robert Pattinson's performance is good, which is certainly nothing new, and he holds most of the film excellently on his shoulders. Unfortunately, the story did not engage me as much as I had hoped, and the various characters did not particularly impress me, although I recognize the filmmakers' ability to create a very particular social undercurrent. For this reason, I enjoyed the film but with some reservations.

Interesting and very original horror with a solid, well-written script that entertains well throughout. The 1970s late show atmosphere is recreated to perfection and is definitely one of the best aspects of the whole film, thanks also to the good directorial work done by Cameron Cairnes and Colin Cairnes. In the cast, the main character David Dastmalchian obviously stands out, giving a very good performance, but the other actors are also not bad at all and the various characters are all well done. Otherwise, I enjoyed everything, even the much-discussed ending, which managed to give me some healthy chills of fear (although it is indeed a bit too rushed). While I didn't quite know what to expect, I was satisfied with the viewing.

Margherita Vicario's is a truly interesting directorial debut, capable of shedding light on the situation of many orphaned women, in Italy in the early 1800s, and their important contribution to music. And she succeeds in doing this by demonstrating an enviable talent, capable of combining the ancient and the contemporary, with a splendid style and several noteworthy scenes. It also has the merit of addressing issues such as feminism and women's empowerment without lapsing into the usual genre clichés. Against this, unfortunately, there is a terrible cast, with performances that range from flat to abysmal. Fortunately, the real star is the music, which is beautiful and very evocative. This would be enough to recommend viewing but Gloria! has much more to offer and portends a promising career for the Italian director.

The union of Casablanca, my favorite movie, and Woody Allen, an actor/director I have always appreciated throughout his long career. What could possibly go wrong? Well, in this case nothing. Play It Again, Sam in fact is a great film, an extremely funny and intelligent comedy with a well-written group of characters, almost iconic scenes (the ending is a small masterpiece) and the usual biting irony of the histrionic actor (here also in the guise of screenwriter but not director). Perhaps it has less magic than his other films, such as Manhattan, the one that remains the best, but overall I enjoyed it very much and it left me completely satisfied. And I laughed a lot and from beginning to end.

For once, my expectations were met. The fact that these expectations were low makes it immediately clear how terrible Blue Beetle is. And this despite being one of the better movies among the latest DC Universe releases (The Flash and especially the second Shazam! remain the worst). The best aspect is the technical side, with some really splendid special effects, an overall off-the-charts visual rendering, and several spectacular scenes. Unfortunately, all this digital talent (and considerable budget, I guess) is at the service of a banal and predictable superhero origin movie that we didn't need, full of terrible clichés (about Mexico in particular), as well as the usual, irritating and continuous comic vein, present even in the most dramatic situations. In all honesty, I start to forget it as soon as the credits rolls.

Environmentalism and the human-nature relationship are the main themes of this film, the third directed by Isao Takahata for Studio Ghibli, whose catalog he embellishes with another success. While not shining as brightly as other gems, Pom Poko is still a splendid animated film, hinging on Japanese culture from the first minute to the last and featuring the usual incredible magic. The protagonists are the tanukis, raccoon-like animals of folklore with the ability to transform into human beings, and their struggle to defend themselves against the destruction of their land in favor of human cities. There are many insights that are not trivial and that question each of us about the state of the world today and our relationship with nature. On a technical level, it is the usual great work, and there are many noteworthy scenes (the opening battle and the parade of spectres are just two examples). Perhaps because of the intense use of Japanese culture at times it involved me less than others, but it is still well made and more than successful.

Brad Bird's directorial debut is a splendid animated film set during the Cold War period and tells of the friendship between a child and a giant iron robot from outer space. The style chosen is retro and is effective in depicting this historical period and gives the film a very distinctive out-of-time atmosphere. The story is simple, with a linear development but is never trite. In fact, the themes present range from growing up, to the life/death relationship, from suspicion of the different to finding one's place in the world and gives scenes of great emotional impact. Between funny and sadder moments, The Iron Giant is a beautiful example of animated cinema at its highest level, suitable for a diverse audience, from the youngest to the oldest, and already showcases the director's great talent.

I am one of the few who did not enjoy the first film in Ti West's horror trilogy. I am glad to say that this prequel is better. While on a technical level the quality is the same so it remains a good film, the screenplay is more interesting and varied than that of X. It still has several limitations but left me satisfied. What, however, is the strength and the real reason why it is worth spending time on is Mia Goth's performance. Her Pearl is played in a wonderfull manner and is one of those characters destined to stay in your mind. And I think her crazy smile is one of the creepiest things I've seen in a long time. In short, a better prequel than the original as much as I still don't understand the success this saga has achieved. I remain curious to see the sequel.

I do not know how closely it actually adheres to reality, but the impression is that it is all pretty much true. This would explain at least part of the actions taken and decisions made by Donald Trump throughout his business and political career. What makes The Apprentice so disturbing is the extreme cynicism and total callousness toward anyone unless they represent a benefit to achieving the goal of the moment. Beyond everyone's personal and moral opinions however, what leaves its mark in this film is the performance of Sebastian Stan, who is impressive in recreating to perfection the movements, the way the protagonist speaks and behaves, as well as showing all his talent. Jeremy Strong is also no less impressive as the ruthless lawyer and mentor Roy Cohn. Instead, Ali Abbasi's direction is effective, although I did not like the stylistic choices in some parts. But this is a minor flaw for what is a good biopic about one of the most important person in the world today.

From Indonesia, another hard-hitting action thriller. The Night Comes For Us has only one flaw: pacing. Where I would have appreciated the absolute, breathless frenzy of other films in the genre, the fights are often interrupted by an unoriginal story about which, frankly, I care little. I would also have reduced the number of characters, to limit fragmentation and increase immersion. However, this does not prevent the film from taking full advantage of all its qualities, mainly related to inspired direction and an avalanche of violent and extremely brutal fights that leave little to the imagination and make genre lovers happy and satisfied. When the chatter stops the protagonists become shooting, maiming, creative killing, and gallons and gallons of blood. It is less choreographed than similar films, such as The Raid, but it has its own distinct style that does not make it disfigure in comparison and deserves praise.

The directorial debut for Roberto Minervini, The Damned is an intimate and existential film set during the American War of Secession, chronicling the inner conflict of a group of soldiers sent to patrol the far West. The most positive aspect of the film is undoubtedly the direction. Aided also by splendid cinematography, the Italian director brings to life very evocative scenes and manages to make the viewer feel like an additional soldier in the group in every single scene, whether it is a ride, a march or a stop around the fire. This helps to empathize with the characters and feel their state of mind at various stages of the conflict. However, the film is characterized by an extremely slow pace that, while initially appealing, in the long run makes it exceedingly heavy and at times even boring. And this happens despite a very short running time. This is a real shame because the potential was all there and in large stretches the film is interesting, as well as beautiful to watch. But being able to finish it without continually yawning is a real feat.

Seen without particular expectations, I was pleasantly surprised. The film chronicles the rise of a biker group in the Midwest of the 1960s and 1970s through the eyes of its core . I have always had a soft spot for charters and their history (Sons of Anarchy is one of my favorite TV series) so it is no surprise that I enjoyed it. More than the story between Kathy and Benny (a bit generic) I enjoyed the relationship between the latter and Johnny, the leader of the Vandals, played masterfully by the usually great Tom Hardy. The rest of the cast also does a good job but he is literally on another level. Otherwise the film is well directed and the script works well for much of the film, although it does not shine with particular originality. The first part is undoubtedly the best with the early years of the group and the meeting of the iconic . Overall, The Bikeriders is a good film, a drama on two wheels and a glimpse of America in years gone by.

I was very hesitant whether or not to see Star Trek II - The Wrath of Khan given the very bad experience of the first chapter of the saga (and having never seen anything of the TV series). I am happy to say that this sequel took not one but several steps forward and is a good science fiction film. Abandoning almost entirely the boring philosophy and terrible slowness, the focus of this film is exploration of new worlds, twists and turns, and spectacular space battles (which is what I expect from a film in this saga). The villain is excellent and well characterized, as well as well played by Ricardo Montalban. There always remains (my) usual problem of not being able to connect with the various characters and not caring too much about their fate. But I also cannot deny that I enjoyed myself for almost two hours so the rating can only be positive.

I have different feelings on this movie. On the one hand I quite enjoyed the first part which, after a shocking beginning, tells in an original and (mostly) interesting way the rise of a young pop star. On the other there is the final part which, besides being too disconnected from the rest of the film, is weighed down by a slow pace and a script that is at least questionable, though always well acted by an inspired Natalie Portman. This ambivalent feeling extends to the different styles chosen by director Brady Corbet, which makes some parts successful while others decidedly less so. Fortunately, there is the young Raffey Cassidy, in the dual role of Celeste and her daughter, who is the real star of the film and gives an excellent performance. This at least partially lifts Vox Lux, which starts well, shows interesting ideas but has a few too many shortcomings, especially in the ending.

It is difficult to remain unmoved by The Substance, regardless of one's taste. Technically it is simply impressive, with a gorgeous visual style and a pounding soundtrack that leaves the viewer breathless. In the cast shines the star of Demi Moore, who returns to the screen in a role in which she decides to give her all, body and soul, and which she certainly feels is close to her career. The result is splendid and I am convinced she deserved more than the success she achieved. I also appreciated the script, which, although not perfect, works well, both as simple entertainment and as a critique of the star system and the sexual use of women's bodies. It also gives several satisfactions to lovers of the body horror genre, with an extremely gore ending. An unexpected and original movie that I enjoyed very much.

The Holocaust and extermination camps from the point of view of the perpetrators, shown as a normal family with common dynamics and an at least seemingly normal life. And therein lies the strength of The Zone of Interest, its originality, its devastating emotional impact and expressive power. There are no scenes of violence, either physical or verbal, everything happens behind a high wall, but the atmosphere of death and horror permeates every moment and is oppressive to the point of exhaustion, thanks to a truly impressive soundtrack. The work done by director Jonathan Glazer is also remarkable, with some sequences splendid in their brutality (the sequence plan of the visit to the garden or the distribution of the little girl's apples, for example). The cast is also very good, with a special mention for Christian Friedel, who is really outstanding. Not an easy film, with a pace that may be slow for some, but one whose every minute I personally loved, right up to the magnificent ending, which hits like a punch in the stomach.

The opening part is devastating, both physically and emotionally. A mix of emotions and sensations that get under your skin and don't leave you until the end. If the rest of the film were of the same quality, we would be talking about a masterpiece. Such is not the case but I enjoyed it all the same. An intense vision about grieving about one of the most painful losses a person can face in his or her life. The character of Martha here is beautifully constructed and developed, thanks largely to Vanessa Kirby's excellent performance. It was not easy to bring such intense pain to the screen, but she succeeded very well and would have deserved more success. The rest of the cast does not particularly shine but this is offset by Kornél Mundruczó's precise and delicate direction and Howard Shore's excellent score. A difficult but worthwhile viewing.

I do not know the situation of the PCI in Italy in the 1970s and 1980s, just as I do not know the historical and political situation in general during that period. For this reason, I had a hard time contextualizing and appreciating Palombella Rossa. Seeing it today, it seemed to me just an anachronistic and pointless lament about the age of time, lost childhood and personal growth. The style is (intentionally) chaotic and confusing, without head or tail, with many (too many) existentialist dialogues that end in themselves, and the overall tone is too "shouty" for my taste. It is clear that Nanni Moretti believes blindly in the project and I do not deny the presence of some noteworthy scenes but overall it is a film that left me with little/nothing and it will not take me long to forget it.

I have to be honest: my expectations for this one were low, very low. Partly because the previous films were not exactly must-see, and partly because the idea behind it was certainly not the best. And instead, as far from perfect as it is, The Equalizer 3 is a good action movie, with a charismatic protagonist, a convincing villain, and an all in all enjoyable story, however simple and obvious. I would have expected a bit more from the action scenes and the final part could certainly have been more articulated, but the level of violence is unusually high and the overall tone is more than satisfactory. Overall a good and entertaining film, if taken for what it is.

Directed and starring Clint Eastwood, Absolute Power is an enjoyable, interesting thriller that entertains well throughout. The main theme is the meaning of power and its relationship to justice, and it gives some good insights. It has some flaws in the script, especially in the final part, but overall I enjoyed it and it never bored me. The cast is excellent, both as actors and performances. Clint Eastwood is the usual guarantee and holds up well throughout the film while Gene Hackman is splendid as the diabolical president of the United States. The rest of the actors also do a good job. It is certainly not one of the director's most successful films but overall it works and gives a couple of hours of good entertainment.

My journey into the world of Studio Ghibli continues with this 1993 TV movie made by the younger, less experienced staff. The result is a romantic comedy/drama centered on the value of friendship and love, set among school desks and starring three young high schoolers at different stages of their lives. Ocean Waves is a simple, short, and perhaps unoriginal film, but enjoyable and entertaining, thanks to a nonlinear narrative structure and a series of well-written and well-characterized characters that are easy to become attached to. I also greatly appreciated the soundtrack while the quality of the drawings is good and effective, though far from the studio's standards. Despite being considered one of the minor works, I enjoyed it more than others and it is one of those films that leave you with a smile on your face once the credits begin.

One of the most anti-militarist films in the history of cinema. One of the most compelling and brutal, one of the most disturbing and alienating. Even many years later and even having already seen it, it has not lost an ounce of its enormous visual and expressive power and, given the world we live in, still has much to teach us all. Full Metal Jacket is not easy to watch, and Stanley Kubrick had no intention of sparing us the gory details of war and its effects on soldiers. And it does so starting with the anguish endured by recruits in Marine boot camp through some of the most powerful scenes in film history (Vincent D'Onofrio is monumental). Then it goes on to Vietnam, where there are no heroes performing brave deeds or spectacular battles but only the absurdity of it all with young men dying over and over again or being scarred for life by what they experienced. A powerful, violent and necessary film. A masterpiece.

Where the first film focused on Riley's childhood, Inside Out 2 takes a step forward by shifting to adolescence, with the entry of new, unfamiliar emotions. In the Pixar tradition, the film is technically splendid and genius in its writing. There are a lot of interesting ideas and even the thorniest situations are handled in a gentle and intelligent way, avoiding the usual clichés. Compared to the first one, however, it is more confusing and less cohesive, although this one respects the period of the protagonist's life, and it lacks a bit of the usual magic that distinguishes even the most committed films by the creative team. However, this does not detract from the extraordinary work that has been done, and I hope that this series will go on, perhaps with a more solid structure.

The courage of the producers in financing and the director in making such a film is to be commended. A story of friendship in a post-apocalyptic world dominated by the law of the strongest. It's good to say it up front: if anyone is expecting Mad Max, they'd better look elsewhere (perhaps by rewatching the old chapters). That said, I liked Mondocane; it is simple and straightforward but not trite and showcases some interesting ideas. The strong point is the cast: if the pair of very young lead actors is good and close-knit, it is Alessandro Borghi as Testacalda who is the real driving force of the film, with an excellent performance (as usual, I would say). The direction is inspired and makes the most of a tight budget, although I would have preferred more details about the setting and historical period. Overall, it is a film that can be enjoyed without major problems, although it does not provide an unforgettable experience.

Science fiction film with very interesting premises, some of which are satisfactorily exploited, others less so. Johan Renck's direction is effective in showing the alienation and inner conflict of the astronaut on his lonely mission into the unknown, represented by a purple cloud that has appeared near Jupiter. The relationship with Hanus, the creatures with whom he finds himself sharing the final stages of his journey, are also well developed. In contrast, the relationship with his wife takes up too much space and ends up boring in the long run, taking time away from what matters most, the exploration of the cloud. Fortunately there is Adam Sandler, always comfortable in dramatic roles and the author of another good performance, with a character who is less talkative and more pained than usual but still convincing. Overall, it is a film that satisfied me, even if it does not exploit its full potential.

Despite my initial doubts, I liked Blink Twice quite a bit and found it to be a solid, well-written thriller. I particularly enjoyed the first part, where everything seems perfect but is full of strange situations, seemingly negligible but creating an atmosphere of doubt and tension. In the second part the mysteries are unraveled and the shocking and unexpected truth comes to the surface, in all its brutality (there are some quite disturbing scenes). From a technical point of view, the film is not bad at all and credit goes mainly to Zoë Kravitz and is remarkable for being a directorial debut. The cast also does an excellent job and Channing Tatum's performance is undoubtedly the best and most convincing. Overall it is a good film, not perfect but definitely worth a viewing.

I have mixed feelings about this movie. I appreciated the maturity of the story, the characters, and the themes covered, such as the age of time, self-knowledge, and love of nature. However, it did not engage me as much as I had hoped, perhaps partly because it was too closely related to Japanese culture, of which I unfortunately know only a small part, and I found some ages a bit heavy to follow, as well as confusing. This may be a limitation of mine and prevented me from fully appreciating this one. That said, I found splendid the work done by Isao Takahata in directing, the care of the drawings, with the different style of the parts in the present and in the past, and the poetry of the soundtrack, in the tradition of Studio Ghibli. Overall it remains a good film but not up to the standard of the other masterpieces.

Between science fiction and love story, Starman is an atypical film for John Carpenter, a director we all appreciate for his horror masterpieces. It is also rather simple and predictable in structure and development. Nevertheless, I enjoyed it from beginning to end, mainly because of the performances of the two leads: if Karen Allen is good (and beautiful), Jeff Bridges is simply splendid. I don't know if it is the best work of his career, as many say, but certainly the character of Starman is one of those that sticks in your mind. The rest does not shine in originality but works very well, with several noteworthy sequences, thanks in part to Carpenter's work. It is an enjoyable film that satisfactorily entertains for a couple of hours.

A truly remarkable directorial debut for Dev Patel, in this case also starring and screenwriting. It is a fairly standard revenge movie in of structure but incredible in execution. On the level of action and frenzied pace it is comparable to John Wick but, where the latter focuses on fights that are almost balletic, Monkey Man shows the more violent and brutal side of a corrupt and unscrupulous world where the powerful reign unchallenged. Opposed to these is the nameless kid, who acts driven by a desire for revenge, even though his political message is clear. There are several strong scenes but no forcing. The direction starkly showcases the world in which the protagonist moves, with extreme colors and extensive use of handheld camera. Despite some uncertainties, there is much to like in Monkey Man and I hope Dev Patel continues his work as a director.

• Mission: Impossible
• Mission: Impossible – Ghost Protocol
• Mission: Impossible – Fallout
• Mission: Impossible – Rogue Nation
• Mission: Impossible III
• Mission: Impossible – Dead Reckoning
• Mission: Impossible – The Final Reckoning
• Mission: Impossible II

Completed

• Princess Mononoke
• Howl's Moving Castle
• Nausicaä of the Valley of the Wind
• Spirited Away
• Porco Rosso
• Castle in the Sky
• The Boy and the Heron
• The Wind Rises
• Lupin the Third: The Castle of Cagliostro
• Kiki's Delivery Service

...plus 2 more. View the full list on Letterboxd.

• First Blood
• Rambo: First Blood Part II
• Rambo
• Rambo III
• Rambo: Last Blood

• Sympathy for Mr. Vengeance
• Oldboy
• Lady Vengeance

My favorite movies of all time

• Casablanca
• Apocalypse Now
• Big Wednesday
• Once Upon a Time in the West
• A Clockwork Orange
• Pulp Fiction
• Blade Runner
• The Empire Strikes Back
• Alien
• Fargo