Reviews

An insane film, combining typical Nolan traits with a maturity seen very little in recent times. One of the best casts in cinematic history plays those who were the most influential scientists of the 19th century, resulting in a masterpiece.

"As beautiful as it is heavy," one can read on the web. An opinion that can be shared, as upon leaving the theater there remains a sense of bewilderment, of concrete fear, as much as of awareness of having re-experienced what changed humanity.

"The destroyer of worlds" is a cynical but remorseful person, a living contradiction, ultimately a "good" character (or rather, less bad than the others), for whom one builds a certain empathy. Some of the scenes are incredible, goosebumpy. 3 hours that fly by, making you reason about the cruelty of humans but making you understand how, in a way, it was all inevitable: killing lives to save others. A somber thought that has unfortunately become a sad reality.

Oppenheimer changes you. That is the best summary that can be made.

Super Mario Bros does not stand as a deep, introspective film (it is certainly not a Pixar masterpiece), rather it appeals to the most classic of audiences: children. Nor is this entirely true, as various generations are united by a passion for that quirky Italian plumber.

Mario and Luigi are bound by a brotherhood never questioned and Bowser (Jack Black's crazy vocal performance) is the typical villain driven by silly but true ideals. But it's all so good. The music is spot on (this mix of pop culture and Nintendo is perfectly successful), the dialogue is simple and direct, and visually it is something incredible.

There are also so many numerous references to all the Super Mario games, from the platformer we all know to the fun (though undoubtedly infuriating) karts.

In short, successful experiment. Not every movie has to make you see reason, and Super Mario Bros is the perfect example of how you can become a carefree child again in just an hour and a half.

Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo's groundbreaking slice of life on the set of a shoddy Italian TV drama leads Francesco Pannofino (René Ferretti) and the entire cast of Boris to create something memorable. In this regard, the quotes remain milestones of Italian comedy over the years.

This series was indeed a panacea for the questionable palates of the mediocre Italian audience, which in this case nevertheless fully understood the harsh but hilarious criticism that was being made of the whole rotten TV industry.

The characters are simply spot on; there is no star more of a star than Stanis, no slave more of a slave than Lorenzo, no "cursed b*tch" more of a "cursed b*tch" than Corinna. Some of the gimmicks are then ingenious: stupid and absurd but, alas, feasible ideas.

The direction of the series (the real one, not of "Eyes of the Heart") is, perhaps deliberately, quite crude and "Italian"; but all in all it's okay. The dedication in the season four finale, on the other hand, is touching, and brings to fruition the path that leads us to empathize with those slackers of the screenwriters (the directors themselves).

To them I say: thank you for this gem, albeit too "Italian".

An intergenerational cultural phenomenon, while not the first feature film of its kind, Cars is undoubtedly the most beloved and remembered.

A simple, trite and already seen story is reinterpreted by placing race cars at the center of the project. The selfish young protagonist faces the race of his life, to win the much-hyped Piston Cup: however, a series of unfortunate (or fortunate) events lead him to a remote town on Route 66, in which his view of the world will be completely overturned.

Made in a prosperous period for racing, it does not innovate much, taking all the typical choices of a standard animated children's film. However, it has the merit of having rightfully entered the history of cinema, having made its mark on millions of kids who, even today, more than 15 years after its theatrical release, still remember with emotion the air of speed they breathed as children when watching Cars. The best and most exciting scenes are, in fact, those of pure competition on the track.

Surely then, those who follow racing (Formula 1, Nascar or any other category) and those who adore cars in all their glory will love Cars.

A film that innovates, finally after stale years, the Italian comedy genre, bringing into focus the up-to-date themes of drugs and the alleged uselessness of a college degree in Italy.

A group of old friends, former university professors, unite to produce a new type of legal drug: each one, with his knowledge, contributes to the success of the plan; carried out, it turns their boring lives around out of the blue.

Fast-paced and enjoyable, ''Smetto quando voglio'' succeeds, with an exceptional cast, in the arduous task of reconciling the crime and comedy genres, without coming across as the usual trash "cinepanettone". However, there is no shortage of clichés, the music is not the best and in the end the plot is not that innovative, leaving aside the aforementioned premise.

It remains a great film, which is quickly watched and which entertains and amuses, with a project that should definitely be seen more in Italy.

La La Land is, without a doubt, one of the most successful films in recent decades. One could expect nothing less than this after the equally stupendous Whiplash: Damien Chazelle, with exceptional direction, has revolutionized a niche genre by taking it to the roof of the world.

A Jazz musician and an aspiring actress fall in love in Los Angeles, the city of dreams: the plot seems obvious, but it is, in the last act (the best one), completely overturned from the classic musicals of the 1950s and 1960s, to which La La Land explicitly refers.

The acting performances of Emma Stone and Ryan Gosling are superb, two versatile actors capable of alternating styles and emotions in the simplest of ways. Not to mention the music: this film's soundtrack is the real key to its success.

And, in the end, in front of true love it doesn't matter if Los Angeles is not so much the city of stars. As long as it is (or was) for two people in love.