This is a thrilling ride into a tennis final with an exciting threesome relationship as the biggest metaphor for it. Guadagnino gets better movie after movie.
This is easily McDonagh's best film since In Bruges. Two friends, a remote Ireland's island, irish civil war and the story of a depression and a broken friendship. Such simple elements that director's McDonagh manages with a beautiful mis en scene. Great cinematography, great acting, great screenplay = great movie.
Oskar, a fragile and anxious twelve-year-old boy, is abused by his schoolmates and ignored by his own family. He finally finds company in Eli, a pale, serious girl who has recently moved into the neighborhood. Then a deep friendship with disturbing traits is born, because at the same time mysterious brutal killings begin to occur. This movie is one of the best horror movies of the last 25 years, probabily the best along with "The Witch". Director's Alfredsson perfectly manages the rythm of the horror balancing it with drama and the result is an astounding movie. Cinematography choices are perfect here since DOP (along with the director) provide a macabre and cold atmosphere which perfectly fits with the story told. "Let the Right One in" is no doubt a must-see film and of course a memorable one.
Marcello, a dog groomer, commits petty crimes for Simoncino, a former boxer who terrorizes the neighborhood. The abuses of the criminal, however, push the man to take matters into his own hands.
For me, this film is Matteo Garrone's true masterpiece: the cinematography portrays a roman suburb with post-apocalyptic "Mad Max" atmospheres. Each shot is a painting and is functional to the next one. Garrone's direction is well-kept and leaves nothing to chance, the film keeps you in suspense until the very end and what can I say more: an unmissable film.
Perhaps Guadagnino's most experimental film, a strange, imperfect, disharmonious work that hybridizes different genres - melò, horror, road movie - with abrupt leaps of tone, as if they were pieces of different films stitched together.
The first 3/4 of the films in their imperfection are something astounding: a rough road movie, a horror, a coming of age a love story, but, above all, a very citationist film that pays homage to the best of some of my favorite directors ever and therefore takes me by the throat. We find Van Saant (the film oozes "My Private Own Idaho" from every pore), we find blatant quotes from Kathryn Bigelow's masterpiece "Near Dark": cannibals, like Bigelow's vampires, have no alternatives, they live in a world who does not accept them and therefore they meet and form a community. The cinematography is spot on and very reminiscent of Terrence Malick's "Badlands". The director makes good use of Von Trier-like shaky camera movements (especially in the side tracking shots which are short and very fast).
The editing is truly hyper-experimental at times: it interrupts a scene in mid-suddenly only to come back to it a few seconds later. Everything often happens very (perhaps too much?) quickly and with a fleeting glance. Going back to the point, for the first 3/4 the film is breathtakingly beautiful: magnetic and imperfect like a Joy Division **** genres are mixed without ever getting bored, the apparent sweetness given by the combination road movie + romantic coming of age drama is well balanced and dampened by truly ferocious horror moments: the meeting of the protagonist with her mother is chilling (there Guadagnino mentions himself bringing to mind a scene from his Suspiria).
It is the last act instead that which convinced me a little less: I found it too fast and hasty, for me it would have taken 20-30 minutes more to explore the figure of Sully and show us how he gets there to the two youngsters. It would have been a necessary choice to remove the handbrake in the finale and push this last act to the end: right down to the bone, as the title says.
I understand who might think that it is not Guadagnino's best film but it is a courageous (not at all pimping), romantic and dark work based on a difficult subject and which remains etched in the mind long after viewing.
A former San Francisco cop terrified of heights falls in love with the woman he's supposed to protect, but appearances hide reality.
Few words to describe this noir masterpiece. Only Hitchcock could make a film like this.
In a wood a child discovers the body of a man. The discovery deeply upsets several people, each of whom thinks they are responsible for Harry's death.
A minor Hitchcock film that still means one thing: great film.
A woman, on the run after stealing a large sum of money, stops at a lonely motel, run by the young and creepy Norman Bates.
Simply one of the best films in the history of cinema, as well as one of the best horror films in the history of cinema, shot by one of the best directors in the history of cinema. Hats off to the great Hitchcock.
The film is the film adaptation of one of the short stories from the 1994 collection The Djinn in the Nightingale's Eye written by Antonia Susan Byatt.
A FILM ABOUT THE POWER OF CREATION AND IMAGINATION, WHICH DANCES BETWEEN WALT DISNEY AND FELLINI IN THE NOSTALGIA OF A FANTASY THAT LOOKS TO THE PAST.
In an apocalyptic future, Australia is now a totally deserted and desolate country where everyone is struggling furiously to survive. Max, a lonely ex-cop haunted by the loss of his family during the early days of the global collapse, is captured by the Sons of War, an army of bloodthirsty warriors.
One of the best big action movies of the last 20 years could only be directed by the genius of George Miller.
Nada is an unemployed worker from Los Angeles who comes into possession of a strange pair of black glasses, thanks to which he discovers that many human beings are actually extraterrestrials who try to condition humanity with subliminal messages. Shocked by the revelation, the young man embarks on a relentless fight for freedom.
Probabily not my Carpenter favourite film but certainly a very good film that I recommend seeing to get an idea of the style of one of the greatest and most influential American directors ever.
On the outskirts of Los Angeles, District 13 is about to be relocated due to public order increasingly compromised by violence. While Lieutenant Bishop goes to the place with the task of supervising the move, a police cell phone that is trampling three dangerous criminals is forced to stop there due to the illness of one of them. One of Carpenter's absolute masterpieces.
A repeat criminal has a chance at a pardon if he helps rescue the president, who is being held hostage in the city prison of Manhattan.
A classic of the utopian-futuristic genre, a film simply in full Carpenter style. An unmissable cult.
The Thing, a living substance that atomic radiations have unearthed after millennia of silence under the eternal ice of Antarctica, attacks a group of scientists whose base is located in Alaska.
an indescribable film, it makes me shiver just to think about it. One of the best films in history directed by master John Carpenter.
Following the death of her mother, Tamara Drewe returns to her remote hometown. He has a new nose and a huge new charm. His presence therefore profoundly upsets the balance of the village. The handyman Andy, her first boyfriend, and the famous writer Nicholas Hardiment, who runs a meeting place for artists with his wife, immediately fall in love with her. A comedy that leaves a little perplexed, certainly only half satisfying.
The young Pakistani Omar convinces his uncle Nasser to entrust him with a laundromat that he would like to run together with Johnny, with whom he is in love. This is just the beginning of a long series of vicissitudes. A great film with great direction and above all with a great Daniel Day Lewis.
Robyn Brooks, at the end of yet another relationship, decides to recontact her five most memorable exes to try to understand what is wrong with her and why she always ends up being left. A great comedy, perhaps the last truly great film by Frears that with the 2000s begins to get lost a bit.
Roy Dillon, petty crook, has managed to build a solid fortune over the years. Rushed to the hospital, he is visited by his mother, who is ready to do anything to separate him from his girlfriend who reveals to be way more cunning and smarter than him. This movie Is a great noir, easilyome of Frears bestmovoes. Directing Here Is no showy but Is at the service of the story in a subtle way. Good performance by the cast too, John Cusack and an extraordinary Annette Bening.
Three brothers and a demolitions expert organize the heist of the century, but many complications arise when they realize they have to deal with a car race and a relentless FBI agent. Soderbergh after the beautiful "Unsane" does the double blow in one year by shooting this even more beautiful film. the director from Atlanta manages to give his best by managing the timing of the drama, comedy and action in the best possible way. A must see film.
An ex-con investigates his daughter's death and discovers the details of her relationship with a mature man.
Not the best Soderbergh but certainly the best Terence Stamp. A very big one.
This movie is a good example of how directing, acting, screenwriting and photographing can get at their worst. One of those movies that simply shouldn't exist. Please give me the Cukor's movies every day of the year and let this garbage to stay away from me. If you want to learn how to waste two hours of your time this Is good a way to start.
some ideas thrown there like plastic bags afloat on the sea but everything is missing: from the script to the direction. Pugh alone, however good she may be, cannot bear the brunt of a badly written and directed film. A completely messed up film.
A now old and tired Wrestler tries to physically prepare for his latest fight while trying to reconnect with his teenage daughter as the only way to redemption for a dissolute life led in the name of success and excess. ARONOFSKY SHIFTS THE SCENE LIGHTS FROM THE RING TO THE BREAKED SOUL OF A MAN WITHOUT EVER EXCEEDING IN THE DRAMATIZATION FOR ITSELF. The result is a genuinely harthbreaking movie, easily Aronofskyi's best to a level where it has never been repeated.
An (original ??) romantic crime about three great friends who find themselves at the center of one of the most shocking secret plots in American history.
It Is a typical exemple of when you relies on a cast of big names to mask your paucity as a director.
A film with a cast of high-sounding names (which does not necessarily mean great actors) entrusted in the hands of a craftsman with no particular merits who follows in a didactic way with the camera the stories of theese characters written in a not very exciting script. Result? A mediocre film.
No Need to tell the plot of this because everybody has seen the originale movie. When i First read Spielberg was makind this remake i tought nobody needs it and i still strongly think it but,even if it's not nearly as good as the original, It turns out to be a really enjoyable movie so i save It with a sufficient score.
A university professor confronts her troubling past after meeting a woman and her young daughter during a vacation in Italy. His obsession with the woman and her daughter reminds her of her first motherhood.
A strange but captivating film at the same time, seeing it is like being wrapped in an intense and all-encompassing memory of motherhood. A memory that speaks of mistakes, inconstancy, fear and unpreparedness in being a mother. Good directorial debut by Maggie Gyllenhaal who works a lot on close-ups and short shots, dirty camera movements (clearly inspired by Von Trier) and a sometimes slow, sometimes frenetic editing. A good (but not exceptional) movie.
Tom Ricks, a 40-year-old American writer, arrives in Paris hoping to reconnect with his daughter, but nothing goes as planned. Housed in a shabby hotel, he finds himself forced to work as a night porter. While he thinks he has hit rock bottom, Margit, a sensual and mysterious English woman, bursts into his life. The two start a relationship but Margit imposes strict rules: she does not have to ask her any questions and will only be able to see her twice a week.
Pawlikowski's worst movie. The beauty of the shots that usually dominate in the Polish director's films is lacking here and the film makes you fall asleep.
Mona has a fantastic moped, which only cost ten dollars. It doesn't have an engine, but it's definitely a bargain. Mona lives with her brother Phil who doesn't approve of her friendship with Tasmin. when I saw it for the first time this movie didn't thrill me at all but it is still better than 99% of the teen movies that are produced today.
Poland, 1962. Anna is about to take her vows as a nun when she learns from her only relative that she is of Jewish origin. Both women embark on a journey to discover their family history. I expected more, Pawlikowski is as usual a technically superb director but often he makes the mistake of putting history at the service of technique rather than putting technique at the service of history. The result is that he makes films like this: stylistically and technically flawless but that also turn out to be quite empty, soulless and forgettable.
Against the backdrop of the cold war of the 1950s in Poland, two people of different social backgrounds and temperaments begin a stormy and passionate love story.
The film is at times a great film, at times instead a mere exercise in style by the director Pawlikowski. The cinematography is beautiful but the choice of the 1: 37: 1 format is very pimp and the editing of the films does not completely convince me. The film runs for less than 90 minutes but the slowness and boredom are at times so disarming that it seems to last an eternity.
After witnessing a traumatic episode that involved one of his patients. Dr. Rose Cotter is haunted by strange and frightening phenomena. Assailed by the terror that takes over her life, Rose will be forced to confront her past in order to survive and escape a new and chilling reality.
This horror is no different than the most common low-level commercial horror. Pyrotechnic direction that aims, with outdated techniques, to scare by looking for the most banal clichés and leitmotifs of the genre: overdose of jump scares and reckless use of the soundtrack. A terrible movie more than terrifying.
Two brothers who run a horse farm in California discover something wondrous and sinister in the skies, and the owner of an adjacent theme park seeks to cash in on the mysterious otherworldly phenomenon.
This film seen in theaters is a magnificent experience. A film that through Peele's classic political-satirical style is a strong critique of the unhealthy relationship between man and nature where the former arrogantly tries to subjugate the latter.
The film is full of tension and Peele offers wonderful camera movements that bring to mind the best works of Spielberg, Kubrick and Carpenter. The references to Spielberg's "Jaws" and Carpenter's "The Thing" are very clear.
The lateral tracking shots (for example those where he frames the stable and the house) bring to mind Hitchcock works while the blood flow on the house brings to mind Kubrick ones (The Shining).
A film that is complex and layered and needs multiple viewings to be understood and digested.
Paddington finds a book in an antique shop, the perfect gift for his beloved aunt's 100th birthday. When the present is stolen, the young man embarks on an epic quest before the woman's party.
If the first Paddington could be a masterpiece, this one is even more beautiful. The editing characterized by a very delicate touch as well as the directing of Paul King reach unimaginable levels here and, if you are a lover of british humor as much as I am, this film will blow your mind away. I laughed and loved this movie madly.
Due to a terrible earthquake that devastates the rainforest of Peru, the home of a bear is destroyed and the cub goes to England in search of a new home. Once in London, Paddington is nicknamed after a train station and finds refuge with the family of Henry and Mary Brown. A truly surprising directorial debut for Paul King, fantastic direction and equally grandiose editing for a film that is not only a film for kids but also an important food for thought on post-brexit England.
A film to be seen even if you want understand what a quality CGI is and how this can be wisely measured and used.
Young Sam investigates the disappearance of his beautiful neighbor, uncovering a series of strange crimes, unsolved murders and bizarre coincidences in surreal Los Angeles.
A big step back for Mitchell after the beautiful "It follows". Not a completely bad film but definitely messy, pretentious (it'd like to say a lot but says little actually) and easily forgettable.
A day in the life of Monsieur Oscar, who by profession passes from one life to another, from one character to another, escorted to each appointment by a white limousine.
The best film by Leos Carax: dreamlike, magnetic, particular and indescribable. It must be seen. Wonderful direction and cinematography. A film not for everyone but that everyone must see.
Didactic, elementary and superficial. The story of the greatest and most arrogant scammer in sports history needed to be explored better in terms of both narrative and character exploration. Definitely not one of the best Frears movies.
Following a sexual encounter, a teenager is tormented by terrifying visions and becomes convinced that she is being haunted by an evil presence.
One of the best horror films of the last decade, a terrifying film with great directing. Mitchell's metaphorical style is beautiful, leaving the viewer a magnificent film open to many possible interpretations. A film that lets itself be talked about exactly the way as great cinema should do.
Disheveled, boring, pretentious and pandering film. Clearly built for the Oscars and eager to deliver the social message that Hollywood's radical chic care so much.
Simply one of the worst movies in the history of cinema. People disappearing with lowest level special effects. That's all. A good movie If you want to fight against constipation.
One of the worst films in the history of cinema. This is not even cinema, it's just rubbish. I won't go into detail to talk about what I think about the script and the direction of this film because it's better if I'm silent. I'm just saying that movies like this would be better if they didn't exist.
Soderbergh's experiment of shooting a film entirely with the iPhone is very interesting but it remains a cold mere exercise in style without the film remaining long after viewing. Easily a forgettable movie.
Suspiria's plot is well known: a young American dancer arrives in Berlin for a dance audition. Soon, the girl learns of a terrible secret that the directors of the company try to hide. I was very skeptical about the success of a remake as difficult to make as that of Dario Argento's horror masterpiece but instead Guadagnino manages to shoot the best film of his career, a splendid (and not at all obvious) reinterpretation of the classic where he unleashes a great eclectic and personal style. The secret of the success of this film is that Guadagnino does not try to remake Argento's Suspiria but puts his technique at the service of a story that here is reinvented and stratified with originality. The result is a complex and scary film that grows more and more after each viewing.
Excellent directing and excellent interpretations of all the cast too: from the cinematographer up to the actors.
The meeting between two boys, Elio, a sensitive and educated teenager, and Oliver, a spontaneous, fascinating and full of life 24-year-old student, marks the beginning of an unforgettable summer in the splendid setting of a villa in Cremasco, Italy.
For the first time in his career, Guadagnino puts technique at the service of history (and not vice versa), managing to make a good (even if not exceptional) film.
A remake that didn't make much sense to exist and that doesn't come close to the quality of the original. The actors are good but the film is worth nothing.
Christine McPherson is an ambitious senior high school student who dreams of moving to the East Coast to attend college. When he decides to join a drama club, his life changes completely.
This film is a teen movie that runs through all the clichés of the classic coming of age story in the most banal and boring way possible. A film that says nothing and that does not have the slightest merit.
Rock legend Marianne Lane is on vacation on the island of Pantelleria with Paul, the historic partner. The quiet of the Sicilian idyll, however, is disturbed by the arrival of Harry, with whom the woman has had an affair.
it has to be said that the first 3/4 of this film is truly jaw-dropping. We are faced with an elegant and splendid noir seasoned with a fantastic interpretation by Ralph Fiennes. Guadagnino masterfully build tension between the two men but then he really faces a creative black out. The final act of the film, on the other hand, is an example of how to completely ruin a perfect film. The use of Corrado Guzzanti as a police offer is simply incomprehensible (Guzzanti cannot even act at a basic level) and the ending of the film is really not convincing. The reflection on immigrants is very out of place and coarse and resolution is too hasty. Too bad indeed because this Could have been a great movie but It turns out to be a missed great movie.
Emma is the "foreign" and composed wife of Tancredi Recchi, an influential exponent of the Lombard industrial upper class. Married without love, Emma and Tancredi live between ease and hypocrisy in a large villa in the heart of Milan with their three children: Elisabetta, Edoardo and Gianluca. Close to his father for cynicism and concreteness, Gianluca stands out from his brothers, sensitive and idealistic like Emma, who lovingly watches over their precarious happiness. Edoardo, his mother's pride, disappoints his father's expectations by falling back on the management of a bucolic restaurant in partnership with Antonio, a talented young chef with a low social background. Antonio's entry onto the scene will subvert equilibrium and destinies with the strength and "scope" of love. After the mediocre The Protagonists and the disastrous, terrible "Melissa P." Luca Guadagnino returns with a film about the upper class with some good moments in it (nice camera works, and a well depicted erotism) but that simply didn't fully convince me.
