Reviews

Non sono un affezionato di Conan Doyle, anche se il suo personaggio è certo una creatura affascinantissima. Quindi non mi indigno per questo film. Ma diciamolo: E' semplicemente un blockbuster!!!, come quelli della Marvel (peraltro Downey jr. era il protagonista di Iron Man); quelli che alla fine delle vicende, che grosso modo si svolgono con cadenza simile se non uguale,ti buttano lì che stan già girando il sequel. Per il resto Ritchie, regista un po' fastidioso, aggiunge un po' del suo tocco rallentato/accellerato in alcuni momenti d'azione, come i match di Holmes (dove si platealizza in maniera un po' ridicola la sua arte deduttiva), personaggio che qui si fa credere di voler ringiovanire dotandolo di fibra muscolare più tonica, amore per i bassifondi, rinunciando all'aplomb oppiaceo dell'originale di Conan Doyle (il quale ovviamente resta ben più inquietante). Se in "The snatch" lo stile era già manierismo e il montaggio era irritante, qui il regista deve scendere a compromessi maggiori per un film che comunque resta una commissione e il solito tentativo di "attualizzare" classici personalità del cinema seriale. Giusto o sbagliato che sia quel che penso su una cosa non ci son dubbi; se vuoi far fumare la pipa a Holmes almeno insegna all'attore come si tiene in bocca!!!!

Vidi Keoma da ragazzo, prima visione, lussureggiante cinema Malibran di Venezia. E non mi piacque, in quanto ero davvero innamorato di Sergio Leone per tollerare che ci fossero divergenze sul suo modo di fare spags(oggi la penso diversamente...). Mi rimase l'impressione di un film ridicolo anche se fatto con soldi. Effettivamente ancor oggi ci son alcune cose che non tornano (che poco credibile indiano è Keoma bambino...) ma in fin dei conti è forse il western più sentito di Castellari, il suo "C'era una volta il west". In Keoma il regista si affida ad un immaginario semplificato di impronta cristologica, ben evidenziato nell'affissione di Keoma sulla ruota, sferzato da una pioggia inclemente. Sia Keoma che la vecchia col carretto ma in generale tutti i caratteri presenti nel film son semplici, fumettistici si direbbe (se non fosse che i fumetti oggi son di rara complessità). Ma funzionano poichè da basso continuo alla pellicola c'è la volontà di fare un film "speciale", di pensare "in grande", di emozionare, anche se con idee talvolta ingenue. C'è una certa "onestà" di fondo in Keoma che fa perdonare il regista e Montefiori di aver a tratti pescato nel barile dell'Ovvio per costruire caratteri e plot. Aggiungo anche che il panorama abruzzese funziona molto bene, il vallone di Campo Imperatore visto in mille e passa western spaghetti, in Keoma diviene qualcosa di più colossale, come mai s'era visto nelle altre pellicole. Nero zazzerone e hippie è come sempre, quand'è con castellari, volenteroso. Non è mai stato un grande attore; più che la capacità spesso era, appunto, lo zelo e la volontà a premiarlo e a sopperire alla evidente lacuna del non grande talento (oltre alla bellezza fisica). per il resto della compagine si raggiunge la sufficienza piena, in particolar modo a Orso Maria Guerrini, credibile vilain, Woody Strode (stracult la scelta di fargli reinterpretare il personaggio del fantastico "I professionisti"), e al solito, l'affidabile William Berger, sempre puntuale e pacato ma anche intenso. Forse si voleva fare un grande film, un colosso e qualcuno potrebbe obbiettare che la montagna ha partorito il topolino. Ma anche se così fosse, il topolino è adorabile e il film sta in piedi così com'è.

This movie was so near to be ridiculous but there's a sense of measure and a limpid style that make not possible to be ridiculous. It's a love story and the fact is that is possible for love to get over the sexual difference? Krass and Padovan are two gays in crisis; Krass meets Johnny a female, androgen because she had no tits but a well rounded ass.You can think is the perfect woman for an homosexual. But there is more over the sexual attraction between the two; they starts to practice sodomy to made relationship like gay relationship but after there is more. All that it happens in a no man's land surely in the united states, the right place for no man's land.We are in the USA but we are everywhere;it is also true that we are only in the USA and the director made this possible with just a few of elements in this "no" place.That's related with the exquisite economy of the movie. For something is possible to relate this movie with "Last tango in Paris" because we have a relationship between two persons never met before in a neutral zone and the final is a little similar, there's a irremediable broke in the game. But i prefer this little film then the Bertolucci overrated movie

i've watched this movie (movie?) casually and i've never stop watching because is so ridiculous any dog can play this act and will be better then the actors (actors?)of this bad remake of the Fatal Attraction there is no directing, no playing, only an unlucky copy of the Adrian Lyne movie if you have doubt to suicide watch this and you can choose...for "yes"

i can't imagine people that went to cinema to see this rubbish; maybe someone that had an empty afternoon and choose the first cinema near house to stay 2 hours with some others to forget problems but it's hard to go back home relaxed

il divo is the greatest Italian movie from so many years and better then the works by elio petri, that have made in the past movies with political characters like "todo modo" in this movie characters are not only hyper-described in a grotesque way but there's a great work of acting by the actors that made this movie not only a blasting pamphlet Giulio Andreotti is the main character (and i have no words to describe the greatness of our contemporary major actor, toni servillo) but is a ferocious tale about power not against one person. Truly Andreotti (described in the decline years) was the quintessential symbol of power in Italy, the way to made politics following the hypocrite way of evil to do the good. Now things are changed and not in best. The greatness of sorrentino is that he doesn't choose the realistic style of the denounce movie. All is grotesque, over-style, but is necessary to show the real face of my country. Be artificial to tell the essence of Truth. All the actors are in state of grace Servillo over all and Sorrentino direct the movie thinking over the poverty and the childish indulgence of our cinema. The country of disgusting Muccino and Moccia have a real talented genius finally!!!! welcome this healthy movie. I'm proud

with the "Grande abbuffata" title this is the best ferreri movie. Incredible tour de force real time movie is a study in alienation like no other one in cinema. Piccoli display a portfolio of frustrate-tipe tics with excellent performance. the same for annie girardot, the waitress in love with the Italian singer dino. Ferreri use no dialogues, the figure of dillinger as a mythical phantom over the alienated life of the protagonist. The final is incredibly surreal but all the film is terribly realistic and punctual, in line with the analysis of the contemporary man in the west society. I think that in today cinema this movie is something of irripetible

too perfect to be a masterpiece, this movie is close in itself and is a wonderful example of study in paranoia. polanski finds in denevue a perfect actress, the contrast from her beautiful aspect and her negation of life for something else, something pure, something perfect, something without flesh and sex and out of this world. Great attention to the particulars, every single moment, object, expression, noise concurs to create the reason why she's right to be fall in madness and kills men, includes the innocent boyfriend. As all the best operas polanski carry on us from the part of the protagonist, we understand why she's terrified, we are whit her point of view. for her life is corruption (that's why she leaves a rabbit out from the frigidaire); she kills only to defend herself. And in some way she's not wrong...

this is an excellent thriller, dry and direct, without special effects except for the most important, understatement. Cool in the description, as the main carachter is, without any moral, only describing facts that happens. But this is not a documentary but a more mature movie than movies of today. I think that people in the past was more attend to the political situation, so a story of the killing of de gaulle was more compressible than today. How can you do a movie about a glacial killer without identity if you are a too emotive director? I don't think that J.P. Melville can does better then Zinnemann. The decision to not use music, dialogues and tricks made Day of the jackal more intense and deep than other movies of the same gender. my vote 8/10

"The party" stands alone in the entire history of cinema. It's an absolute masterpiece and the prove that is more difficult to realize a comedy than a drama. Sellers is absolutely perfect in the role of Hrundi W. Bakshi, the innocent god that with his simplicity (it's perfect as a child) destroy the house of the producer and all the Hollywood certainties. Every gag is builded with precision and coolness, very different from today comedies. This movie is a cult!!! For me, after Sellers, the best is, naturally Steve Franken, the inarrivable drunker metre absolutely the best in cinema!!!!!!!!!!!!!! 10 on 10

After a repeated vision of this movie I can understand a little more why people loves it. It's not original in plot (it's a fistful of dollars again)Nero is a fake Eastwood, it's unrealistic and incredible in some parts. But Corbucci has his style and the violence is more exagerrate than Leone and starts a current in italian western. There are some scenes that rest in the imaginary of spag-fan, like the cut of the ear and the red masked vilains. But Django remains ridiculous and overrated; we are so far than "Il grande silenzio" or the most solar "Mercenary" and his twin "Vamos a matar companeros", easier than django but very professionals in the making

i've found casually in an obscure local tv "Stormy boy" and in the same moment i went in my youthness. This is a very delicate and intriguing movie. And i've rewiewed the boys, the wear, and a tipical manner of realization movies for children of the '70. i love the photography of this movie and his simplicity. Goodbye mr. Percival 8/10 my rating

"I giorni dell'ira" is a very nice western, sometimes more american then italian. Despite from some perennial charachterizations about spags, you can find somewhere a little taste of Dmitrik's "Warlock", maybe because this is an urban western. The peculiarity is that is a pacifist western, where you find a town that doesn't desire the use of arms but is very racist to Scott Mary. The arrival of Frank Talby demoster that it was a fake peace. In a little time, Talby-devil demonster that any gun can play. And you can see the transformation of a quiet man (but with gun in his heart) in a furious man of revenge, that finds a father in the old gunman. At the end Mary understand that the law of Talby (wich is the law of west) can't go on. So father and son meets theirself in a duel. Valerii's direction is good, and there is no only the Leone lesson. Actors are in role and secondary charachters are discreet. Only Gemma is a problem for me but is not very miscast; he have the face of a good boy, unlucky, that, for an instant, meets a change of fate.

More faithful to the Harris' book, "Red dragon" is correct but anaemic movie. Who that prefers this picture then "Manhunter" are far to understand what must be a movie taken from a book. In the Mann picture, the imaginific style of the director made Manhunter a movie that you don't miss. Here we have a cast of brilliant actors undervalued. Compared to William Petersen Edward Norton is like Dustin Hoffman that fight with the dragon!!! And if you look to the ending scene you can see a real resemblance

"I soliti ignoti" is probably the movie I know better and one of the most beautiful pictures in the whole history of cinema. Wonderful charachters, fantastic plot (from "Ne touchez pas le Grisbi"), stupendous soundtrack, amazing screenplay, perfect photography. And funny, funny, funny, but realistic in the Italy of post war poorness. Gasmann plays the role that change his career; before this movie, nobody would believe that he was a brilliant comedy actor 'cause he was know only for dramas. Some unforgettable charachters, like Pisacane's Capannelle or Tiberio, a sicilan charachter played by a Sardinian ex dishwasher in the movie of their life. And Toto', incredible amazing in the role of the professor of crook. Is it possible for mr. Clooney to do anything better then him???

This is one of the most famous and loved pictures of the late Alberto Sordi. He plays the role of Nando Meniconi, a young man crazy about U.S.A., in line with the post-war attraction for the country that wins the comflict and "free" Italy. Wearing in denim with a basketball hat, crazy about Joe DiMaggio, Nando is a living danger for all is around him; parents, girlfriend, occasional partners. The plot is confused and low budget; some of the situations are only a veichle for the non-stop improvisative vein of the master actor but this movie is very memorable because is Sordi state-of-art. This is a portrait in which a lot of italians would be recognized. And, if you know italian language, you can laugh all the time. Is a counterpoint for the neorealism school; where you have realism and social critic here you have innocent but funny and realistic parody of costumes and mentality of the italian boys of the '50; chewing gum, toy guns and...hopes for a far, young, winner land...Noew is different but I think that America craze exist the same today!!! w Nando and his spaghetti!!!

When in the 1976 "Febbre da cavallo" exit in cinema not so much people went to see it. The status of "cult" movie starts from the various nocturnal passages in the private tv, during the '80. That's why people loves "Febbre" in this way (a little bit exaggerated). It's a personal people discover. This is not the "pinnacle" of italian comedy. It's only a little movie but funny and memorable in some of its parts. There is one thing over others: the actors are really good, better then some late italian comedies, in a time when comedy leaves for sexy italian comedy, the "commediaccia". So, no Alberto Sordi, not Tognazzi but Gigi Proietti (an excellent, hystrionic theathre actor), and Enrico Montesano, in one of his few good performance on cinema. Enjoy this movie and..."vai cor tango!"

I'm sorry for Enzo G. Castellari. This very professional director, very able in stunt scenes and car pursuit, that sometimes in his movies lives for itself, have made this Trinità clone with Franco Nero copying Terence Hill. Is not a bad work 'cause Castellari knows his job but is excessively derivative and I think that in the career of a popular director wasn't a necessary step.

ONCE upon a time in Italy the "poliziottesco" movie. Titles like "Milano odia", "Roma violenta", "Torino nera" ecc. were common and that is significant to understand the 70, with fear of terrorism, austerity after the bachanal of the '60 boom. So, according to the Siegel line, Lenzi creates probably his best movie. Tomas Milian is the ideal actor for that kind of loser, raged agaist the richs but without ideals. Only ferine rage hopelessy. So today this film illustrated well the clime of grey tension of that years. In the days of his issue someone shout that it was a "fascist" movie, only because the cop (Silva) can applies his revenge not as a policeman but as a private citizen...this is a little bit siegelian... The only thing than Lenzi could make better is to realize a more significant characterization for the figure of Henry Silva, wich substantially is marginal in respect of Milian. But we all know that the importance of the movie is based on the shoulder of the loser. All in dark, dirty locations with bad wearing...Once upon a time the '70!!!

I've seen this movie on the first days of the private tv in Italy. I am from Venezia and everybody in my house stands in front of tv watching this thriller only to find places we know. In fact this movie capture as not other else some fascinating places of my town, a town very hard to use as a location (the risk is to make a movie like a postcard). You can also see an ex cinema named "Progresso"(the place where Dominique Boschero is strangled). Now is a supermarket... About the movie: is very professional, with a good photography, but is a clone of Argento with less originality. Lazenby is bad as in all his works and the surprise is not very surprising... There are some moments good (like the meeting with Adolfo Celi into the Stucky's mulino) but the plot is too much confused and without any real substance. You can find movies of the same period more ugly than this, but "Chi l'ha vista morire" (also know as "Malastrana") is only 5/10

that's incredible! Fidani (who he was also a spiritist) was one of the cheapest director of all the world. This movie stole the original title of Leone's "Duck you sucker!" but tell the boring story of a Pinkerton agent against the killer "Testa di Ferro" (the improbable Gordon Mitchell, a stuntman). All is poor and crazy in this pelicula filmed into the dear landscapes of Lazio. The story is bad and crazy at the same time. Fidani was not able and ingenuos at the same time. Into the story happened some kind of crazy illogical things (like the discussion into the Sheriff's house and the demential appearance of Butch Cassidy !?!?!?!?!? yes, really Butch Cassidy,who is portrayed like an idiot). Terribles nuit americaine, absurd comportaments, illogic plot, bad acting and a fugace appearance by one of the most rewarded anchorman in the story of italian television, Renzo Arbore. Ah, of course: Klaus Kinski. Yes is great and terrible, but i'm sure he was in it only for money an for playing with iron horses) 2 of 10 but...DON'T MISS IT!!!!!

No, sorry, friends. Leone is better. How is possible to say that Django is more then "A fistful of dollars"? These are two low budget movies but Leone starts all and Corbucci (that in another movies was very good) is a clone of Leone. Yes, not without personality and with some solutions that will be better focused in other Corbucci's western (the mud, the sadism, the pessimism-see Great silence)but substantially Django is a little ridiculous remake of a remake of a remake. Nero is a C-movie Eastwood imitator, too many goofs and absurdity (Django can kill at first shot a group of killers whit destroyed hands etc.), and not the class of the first Sergio. Only Rocky Roberts is fine..."Django/after the shadow the sun/willll beeee shiiiining!-tattateratà tattateratò)

"Ultimo tango a Parigi" (wich the movie of Cicero is a parody) was under one of the most infamous conjure in the story of cinema. But, after this, I think it was one of the most pretentious movies on earth.The Cicero parody is one of the most particular parody ever made. You cannot laugh too much and some of the situations are childish but there is a particular atmosphere that is the same of the Bertolucci's movie and also there is a funeric mood that is the RIGHT side of "ultimo tango". Where "Ultimo tango" desire to be serious is funny and where "Zagarol" pretend to be hilarious is tragic.

Another thing: in "Parigi" there is a log subplot (boring...) with J.P.Leaud as a novelle vague director that is one of the most snob, radical chic inventions on cinema. Everybody had forgot this part only to remember the act with Brando and Schneider. In "Zagarol" is relatively funny, with Franco told his story to an inspirate actress, the great Franca Valeri. As is said on the Morandini' dictionary of cinema "Franco Franchi in excelsis". Ars longa....

It is hard to resist for me to see a story of female vampires...I know that my edition is not the complete but this little, strange movie fascinate me the same. The beauty of the actress, the hot sun revealed on the high-saturated photography, the sensuality that every vampire story must have and the incredibly strange fashion of the '70 really made this pelicula very fascinate!!! don't miss

this movie is absolutely crazy and sick!!! i don't know if is a good movie but is so fun to see!!! if you need a special treatment from cinema, if you are without your personal dose of ganja, see Blindman, a unique trip...this movie has stayed six months uninterrupted in a cinema of karachi...what kind of people are the people of karachi???

giuseppe colizzi was a fine underrated director dead too early that invented the characters of Spencer-Hill. Differently from E.B.Clucher, Hill is more Eastwood-way then Trinità but the substance is the same. Colizzi was a well competent director, more american then italian, with strong sense of spectacule and correct with the particulars. In Italy is very underrated, I don't know why. "Ace high" is, probably, his best western. It's also hard to see his movies in tv. You can only see every summertime "Arrivano Joe e Margherito", but this is not his best. I hope one day critics rediscover the art of this modest, hard worker artigian of the screen.