teresa_rosado Reviews

Ripley (2024)

What's in a bathrobe?

[10/10 · 16 May 2024]

"They went up to Tom's room, and Dickie tried the bathrobe on and held the socks up to his bare feet. Both the bathrobe and the socks were the right size, and, as Tom had anticipated, Dickie was extremely pleased with the bathrobe". This is a passage from the beginning of this masterful book that is THE TALENTED MR RIPLEY (1955), by Patricia Highsmith, already adapted to the cinema more than once. As a huge fan, I was curious to watch the series RIPLEY (2024), but always suspicious that it wouldn't bring anything new. I was completely mistaken.

Only someone who really likes the story and has in-depth knowledge of it could carry out an adaptation of this level of quality, managing to turn the text around in an intelligent and original way, inverting several elements, most notably the fact that Dickie hates the robe that Tom chose, which activates an expression of disappointment in Tom, that goes completely unnoticed by Dickie, but could very well be the trigger for the hatred that Tom begins to nurture for Dickie.

The poor choice of robe is proof that Tom neither has refined taste nor occupies the social position he would like. This will be remembered later by Freddie Miles, when he glimpses the robe hanging on a door. In the end, even Tom realizes that that robe is not worthy of his new status, putting it in the trash. This importance attributed to the robe is, in fact, an excellent appropriation by the series creator, Steven Zaillian, of an element that, in the book, is only briefly mentioned in the beginning.

Freddie Miles also goes from being redheaded and plump to being dark-skinned and slender. Mongibello, a fictional town, is replaced by the real Atrani. Furthermore, both Tom and Dickie are well over 25 (if Andrew Scott initially seems unsuited to the role, the course of the story will prove otherwise, with his interpretation work being remarkable). Such adulterations confer some distinctive features to the series, although the essential remains, that is, a protagonist completely devoid of compassion, driven by envy, the desire to rise socially and the survival instinct, starting to kill whenever he feels threatened, but never feeling remorse. Someone who doesn't like himself and wants to be someone else, as shown, paradoxically, by the reflection that the mirror gives back to him when he wears Dickie's clothes. Paradoxical is also a the way it makes us feel as spectators: we end up wishing that Ripley will not be caught just to satisfy the curiosity of understanding where his amorality leads us.

In addition to inviting us to once again enter Tom Ripley's universe, the greatest triumph of this series is, without a doubt, the aesthetic-visual effect achieved with the choice of black and white, a beautiful photography and very well filmed and linked sequences (the boat sequence is perfect), which accentuates the atmosphere of suspense and mystery, inevitably transporting us to Hitchcock's films.

In the last part we are surprised by the appearance of John Malkovich, who played Tom Ripley in RIPLEY'S GAME (Liliana Cavani, 2002), in what we can consider a brief homage to the previous films. It's such a shame that the song we hear in the distance, in part VII, is not a fragment of "Tu vuò fà l'americano" (who doesn't remember Matt Damon and Jude Law making this song memorable, in Anthony Minghella's version, from 1999?).

Coup de Chance (2023)

To be or not to be lucky

[8/10 · 15 March 2024]

With "Cantaloupe Island", by Herbie Hancock, as background music, and the wonderful photography by Vittorio Storaro, Woody Allen pays homage to French filmmakers of the 1950s and 1960s, such as Claude Chabrol, Jean-Claude Luc Godard and François Truffaut, in his latest film COUP DE CHANCE (2023). As the title indicates, 15 films after MATCH POINT (2005), Woody Allen returns to exploring the theme of luck and chance, now giving us the reverse of the coin.

COUP DE CHANCE (2023) is based on the premise that even the most fortuitous events can have profound and lasting consequences, showing how the characters' lives are shaped by a series of coincidences and unforeseen events.

Ironically, the only character who thinks he is making his own luck ends up succumbing to the whims of fate, becoming a victim of luck, or the lack of it, and his own Machiavellian design, which leads us to ponder the illusory nature of total control of our lives.

When comparing COUP DE CHANCE with MATCH POINT, we can observe an interesting dialogue between the two. If in MATCH POINT, we see a character who escapes justice due to a twist of fate, in COUP DE CHANCE this theme is inverted, presenting a character who believes he has everything under control, not counting on external elements that may eventually influence in his plans. This inversion offers an intriguing perspective on how luck and chance can condition the course of events, regardless of each character's beliefs or actions.

Thus, by presenting a subversion in relation to MATCH POINT, COUP DE CHANCE broadens the viewer's understanding of the role of luck and chance in our lives, and invites us to reflect on the complexity and unpredictability of human destiny. This time, the tennis ball lands on the less favorable side of the net.

Midnight Mass (2021)

A small masterpiece of contemporary horror

[8/10 · 23 February 2024]

"Midnight Mass" is a Netflix series created by Mike Flanagan and just because of this we know that the quality of the writing and the originality of the theme will always be at a high level. Set on a small isolated island, the action unfolds with the arrival of a mysterious priest, who brings with him a sequence of supernatural events that challenge the beliefs and understanding of the local inhabitants, delving, episode after episode, deeper and deeper into the themes of horror, of faith and of the consequences of irrational and uncontrolled devotion.

One of the most captivating points of the series is the representation of horror in the figure of the angel/demon. The ambiguity of this character creates constant tension, providing a duality between the divine and the profane, skillfully explored, and adding an extra layer of complexity to the plot.

Biblical references are abundantly present throughout the narrative, offering an intriguing insight into interpretations of faith and its consequences. Religious fanaticism is portrayed in a manner showing how blind devotion can lead to catastrophic results for humanity.

In fact, abusive interpretations of the Bible are explored through characters who manipulate sacred scriptures to justify their own interests, and actions. This raises important questions about the interpretation and application of religious texts, as well as the dangers of following religious leaders without question.

The cast delivers exceptional performances, in particular the work of Hamish Linklater as Father Paul, whose emotional journey is complex and captivating. The relationships between the characters are well developed, especially through almost philosophical dialogues, which adds depth to the narrative and increases the emotional impact of the plot twists (some of which are quite unexpected).

At the heart of this small masterpiece of contemporary horror lies a message about the dangers of religious extremism and the importance of questioning blind beliefs. "Midnight Mass" not only offers a chilling and moving experience, but also invites viewers to reflect on universal questions of faith, redemption and responsibility, namely what religion and being religious mean, whether there will be an overvaluation of practices and rituals, to the detriment of moral and ethical issues. And, above all, it urges the need to accept imperfection as a human condition, of which making mistakes, growing old and dying are all part.

No Dogs or Italians Allowed (2022)

A personal and universal journey: all humans allowed

[9/10 · 29 September 2023]

Not all great stories that make it to the cinema are starred by real actors. NO DOGS OR ITALIANS ALLOWED (2022), written and directed by Alain Ughetto, is an example of this. In addition to accumulating writing and directing, Alain Ughetto also constructs, with his own hands, the characters/family members, immortalizing, in the title, the discrimination to which Italians were subjected in a country that they helped to modernize.

It is a cinematographic work filmed in slow motion, which stands out for its personal and moving narrative, while taking, at the same time, an in-depth look at historical events that shaped the 20th century. The film is, as has often been said, a love letter from the director to his Italian ancestors (grandparents), Luigi and Cesira Ughetto, who faced the difficult journey of emigrating from the Piedmont region, in Italy, to France. A story of hunger, misery, wars and disease, occasionally interspersed with moments of hope and happiness.

One of the notable aspects of this film is the way in which it skillfully balances the story of the Ughetto family with the historical events that serve as a backdrop and give it a chronological order, in particular the Italo-Turkish war and the two world wars, connecting the Ughettos' personal experiences with the turmoil and significant changes that occurred in the world during this period. This approach gives the film a universal dimension and makes the family's story a microcosm of the struggles and challenges faced by humanity throughout time.

Among the animated figures, in some sequences, a human hand appears that dialogues with the narrator of the story, the grandmother, and which can symbolize both Luigi's talent and skill, and the importance of manual work, which is passed down from a generation to another, as well as the journey undertaken by Alain Ughetto's grandparents on the path to building a better life for their children and grandchildren.

Tralala (2021)

Tralala - the free electron

[8/10 · 19 September 2023]

Tralala is a very well performed French musical. The lyrics of the songs not only complement the story, but also give meaning to the story itself.

As for the group of actors, the way they manage to act, singing, is remarkable. Mathieu Amalric unquestionably leads this group of actors, his work of composing the character Tralala is impressive, visible in his own facial expressions. This film is a pleasant surprise and it makes us reflect on life: wether we need so many stuff in our lives and how materialism should be replaced by affection and love. In in the end, we see how Tralala touches other peoples' lives and gives a sense to them, just because he gave each one of them some attention and kindness.

The King of Laughter (2021)

Great performance by Toni Servillo

[8/10 · 25 April 2023]

QUI RIDO IO (2021), a film by Italian director Mario Martone, can be summed up in two words: Toni Servillo. The actor's genius allows him to incorporate the different facets, not always pleasant, often contradictory and even immoral, of Eduardo Scarpetta (1853-1925), actor and director who marked Neapolitan comedy at the end of the 19th century and beginning of the 20th century, to a great extent. Partly due to the comic character he created, Felice Sciosciammocca. Actually, the first scene of the film is a long sequence that culminates with the appearance of this character on stage, which leads the audience to great euphoria.

However, as we progress in the story, we realize that this biographical film intends to direct our attention to a very concrete episode in Scarpetta's life. By parodying the tragedy "La Figlia di lorio", by Gabriele D'Annunzio, one of the most important Italian poets of the time, Scarpetta is accused of plagiarism, finding himself involved in a complex legal process, which puts in risk the conquered success.

The scenes in court are a delight for the spectator, with emphasis on Scarpetta's intelligent argumentation, raising very current issues, related to the notions of plagiarism, adaptation, freedom of expression. In the case of the "King of Laughter", it is not surprising that the film culminates in a comic performance by Eduardo Scarpetta, who transforms the courtroom into a theater stage.

Triangle of Sadness (2022)

Triangle of Volatility

[8/10 · 27 January 2023]

Until watching the movie TRIANGLE OF SADNESS (Ruben Östlund, 2022), I had no idea that the area above the nose and between the eyebrows was designated as such in the world of fashion. Although two of the film's protagonists represent models and the particularities to which they are subjected, it is clear that the choice of this title (quite a happy one, in my opinion) surpasses this understanding, because the idea of a trilogy contained in this expression serves the author's purpose.

Throughout the film, we get the feeling that the director is constantly teasing us and playing with us, in a satirical comedy based on two levels of social criticism, a more immediate one, related to various dichotomies, such as rich and poor, upper and lower class, form and content, socialism and capitalism, in short, some of the dominant polarizations in the world today, with emphasis on the discussion between the commander (socialism) and the Russian oligarch (capitalism), whose argument goes no further than some decontextualized quotes thrown at random, as any of us are tired of seeing on Facebook, which reflects the emptiness of ideas and the lack of critical spirit as signs of the times. Furthermore, it becomes clear that defending an ideal is not synonymous of putting it into practice, and that same ideal easily succumbs to an unfavorable context for its application.

As the plot moves towards the end of the 2nd part, and especially in the 3rd part, we realize that there is a veiled criticism, and therefore more corrosive and profound, to the volatility of the human being. Such volatility leads humans to contradictory and reprehensible attitudes, but also to gestures of generosity and adaptability, it all depends on how each one reacts in a limit situation and what they can contribute to mitigating that situation. The social position and perspective of each one are turned inside out, bringing out what worth as people and not everyone does well in the test.

The Best Years (2020)

Imitation of life

[8/10 · 6 November 2022]

Italian cinema doesn't need big productions or state-of-the-art technology to make good films. It is not a defect, but a virtue. A good script, good actors, efficient directing and editing and, practically, it's done. Said like that, it even seems easy, because that's the idea we get when we watch some of these movies. The last one that left me this idea was Gli anni più belli (Gabriele Muccino, 2020).

For about two hours, we follow 40 years in the lives of four friends, Giulio, Paolo, Ricardo and Gemma, marked by many disagreements and many other encounters. The intimate life episodes are framed in the social and political context that has shaped Italy over the last four decades, adding value to the film.

But what really catches our attention is the imitation of life as it is, with conquests and disappointments; difficulties and successes; expectations that change according to reality; encounters with the lost hope; questioning and incessant search for happiness, which, even unconscious, is always latent.

If there is anything in the story that we can learn from, it is to realize that being successful may not translate into obtaining great profits or prominent positions, that happiness is not accounted for in monetary values, that the things that make us happy are really the simplest things (although it is a commonplace) and that it is on them that we should focus, otherwise we will see life pass without us having made it our own.

And, as everything is cyclical, the last sequence shows a couple of teenagers who, like so many others before them, are starting their journey, to, in the end, probably, reach the same conclusion, although with diverse life experiences. This also seems to alert us that life is too short to be spent with people you don't like or doing something that doesn't mean anything to you, but I guess though too obvious, it's something each and every one of us will only learn by living.

Everything Everywhere All at Once (2022)

A joy to our senses

[10/10 · 23 September 2022]

EVERYTHING EVERYWHERE ALL AT ONCE (Dan Kwan and Daniel Scheinert, 2022) is, above all, a breathtaking cinematic experience, which summons almost all of our senses to enjoy it in its fullness.

Michelle Yeoh leads with unshakable mastery the group of no less efficient actors who transpose the Daniels' vision to the big screen. Newcomer Stephanie Hsu is surprisingly convincing in the role of Jabu Tupaki; Ke Huy Quan (the boy from INDIANA JONES AND THE LOST TEMPLE and THE GOONIES) proves to be a talented and versatile actor; in turn, the legendary James Hong, who is already 93 years old, and Jamie Lee Curtis, who manages to be, at the same time, hateful, comical and touching, show that without committal and without complexes, as in any profession, there is no way to get good results.

The film itself requires concentration and open-mindedness, as it is unlike anything I've ever seen. Assuming that there are several universes and that it is possible to jump from side to side, accessing the selves of other universes, the story unfolds at a hallucinating, captivating, touching and even philosophical pace, launching lines of thought such as "Nothing matters" ; "kindness" as a form of struggle; see the good side of things as a life strategy, not necessarily as naivety. Almost from an existentialist or Beckettian perspective, we can consider that what the film proposes is that at the base of our existence there is nothing and it is our choices and the freedom to choose some things over others that define the human condition.

The film uses impressive special effects, which serve the story, but without neglecting the message it intends to convey. And here, the one that seems to me the most profound is related to the fact that the protagonist believes that she has done nothing with her life, because when she gets to know her other selves from other universes, she considers that they had fuller and more interesting lives (although they lacked the most important thing: a family). In fact, when someone tells the protagonist "in another life, I would have loved to do laundry and taxes with you", we have the film deciphered.

Lost Illusions (2021)

A well adapted great story

[9/10 · 10 September 2022]

A young provincial aspiring poet. A marquise patron married to a much older man. A grocer's editor who can't read or write. An unscrupulous journalist at a time when freedom of the press was confused with lack of ethics.

The homonymous film adaptation of one of the most celebrated novels by Honoré de Balzac (Illusions Perdues, 1837), an integral part of the writer's comédie humaine, invites us to witness the decline of Lucien de Rubempré, played by the young actor, Benjamin Voisin, who I already knew from SUMMER 85 (François Ozon, 2020), so it didn't surprise me that he managed to take such a long and intense story upon his shoulders.

In LOST ILLUSIONS (Xavier Giannoli, 2021), Lucien de Rubempré (Voisin) dreams of becoming a recognized poet, arriving in Paris eager to make his literary talents known. However, the illusion is quickly replaced by the temptation to indulge in the easy life of a sensationalist journalist.

Throughout the film, the dialogue with the present is evident and we can easily see that the director intends to bring to the 21st century a veiled critique of the journalism that is practiced today, superficial and not very rigorous, as well as a society dominated by greed and absence of moral values. As the book says, "both the political law and the moral law were disowned by everyone; opinions belied by conduct and conduct by opinions".

As for Julien, even involved in the nastiness of Parisian society, still has a certain naivety, which leads him to be entangled in a web of Machiavellian plans that manipulate his destiny as if he were a puppet.

The Good Boss (2021)

The selfish boss

[8/10 · 9 September 2022]

I didn't have a very clear idea of what this film would be about, but, as the story advances, we clearly understand that the title is an ironic one because this boss puts his own interests above everything and even when he seems to think of his employees' well being, he is actually putting his business success on the top of the list. Any adversity is fought with money or a more radical measure. In the end, he doesn't really care about the father that lost his son, as long as the so desired prize is on the wall of his living room. Balance is a very important issue, his own balance, and if he needs to unbalance other peoples´lives, that's ok with him.

Bardem does what we expect, a brilliant performance, the story is a subtle criticism to a society that only values money, power, populism and the human being is just an instrument to the good boss will and needs. Well written and directed with some interesting twists.

A Hero (I) (2021)

True happiness demands a clear conscience

[9/10 · 8 July 2022]

Iranian director Asghar Farhadi is recognized for the disconcerting stories he brings to the big screen, such as the films FINDING ELLY (2009), A SEPARATION (2011) or THE SALESMAN (2016). In 2018, he was a little disappointing with EVERYBODY KNOWS, making it evident that, although the themes are universal, his cinema lives from the specificity of Iranian space and daily life. In 2021, he gained notoriety again with the film A HERO, a tale that invites us to watch Rahim Soltani's journey of transformation and puts into perspective the tenuity of the lines drawn between morality and dishonesty; disinterest and selfishness.

The opening sequence of the film shows Rahim Soltani, a would-be hero, leaving prison to take a two-day leave, during which he will try to settle, with his creditor, the debt that led him to that situation. A taxi ride will then take him to the archaeological site of Naqsh-e Rustam, near Persepolis, where the ascent of long and steep stairs awaits, leaving him breathless, which seems to presage the difficult journey ahead, despite Rahim believes the resolution will be relatively easy. In contrast, in the next shot, other stairs, this time it is his girlfriend who, in the opposite direction, descends full of grace, lightness and speed, dominated by a state of happiness and hope for the future. It is she who brings with her the answer to Rahim's problem. This is the first of many contrasts and dualities that emerge throughout the film, and it is on them that the diegetic structure is based.

In this context, our protagonist, in a crisis of conscience, reveals himself incapable of keeping what does not belong to him. His act of altruism soon becomes public and widely publicized by the media, giving him the status of a hero, acclaimed by the people, just for doing the right thing. Ill is humanity when doing what is right becomes a reason for acclaim and heroism. He is given a framed certificate, which attests to the authenticity of his act and which he carries with him everywhere, under his arm, so bulky that it is impossible to go unnoticed; fundraising is carried out and a list of promises and expectations are made in order to get his situation reversed. Even Rahim's creditor is willing to accept the conditions presented to pay off the debt.

However, on social networks suspicions are beginning to be raised about Rahim and, as we all know, all it takes is a fuse to start a fire. So, those who praised him before are now ready to condemn him, the roles are reversed and he goes from bestial to beast and his creditor from villain to victim, in a veiled but intense criticism of the ease with which a truth is built or destroyed, as well as humanity's lack of critical thinking, the inability to see beyond the superficial and the almost obligatory choice of one side over the other, when, in reality, neither Rahim is perfect nor his creditor is bad , both are simply human.

Rahim Soltani appears, at the end, with a shaved head, stripped of false hopes, omissions and lies, knowing that, like the prisoner who he sees to be released, he too, after serving his sentence, will be able to reunite with his family, build a life, after having subjected himself to popular scrutiny of his actions, in a film where the subtext is as important as the text, in which the shots are thought and outlined to subliminally serve the message, as cinema should be.

The Worst Person in the World (2021)

A witty reflection on life

[8/10 · 14 May 2022]

Most of us have already wondered what our lives would be like if we had made other decisions, studied in other areas of knowledge, had moved in another direction. Most stop there. But what if instead of just guessing, we had enough energy and determination to, after trying one alternative, give up and choose another and another, until we feel comfortable with the path traced? This is the guiding thread of the Norwegian film of Allenian inspiration, THE WORST PERSON IN THE WORLD (Joachim Trier, 2021), whose protagonist (very well played by actress Renate Reinsve) does not hesitate to break up and do it again, change academic paths or boyfriend whenever she feels discontented, frustrated, unfulfilled, putting her interests and desires ahead of everything and everyone else. Does that make her the worst person in the world, selfish, self-centered and narcissistic? Or is she someone extraordinarily honest and courageous who will only rest when she discovers herself and her place in the world? Another singular film that seems to fall into this category that reflects / leads us to reflect on life and what to do with it.

The Macaluso Sisters (2020)

Beautiful and deeply sad

[9/10 · 30 March 2022]

There are not many films that provoke such a deep emotion that disturbs our hearts in such a way, that it makes us feel, throughout almost the entire film, in an uproar of sensations that are difficult to tame, like THE MACALUSO SISTERS (Emma Dante , 2020). Of course, when the film ends, it stays with us, demands our attention, haunts our thoughts and makes us reflect. So, as I write these simple lines, it's hard not to be moved again. It is, therefore, an emotionally intense and demanding story and the way in which it is presented to us reveals delicacy in the details and an artistic care typical of a superior work.

The film is directed by Emma Dante, from her own theatrical staging. As the title indicates, the story follows the five Macaluso sisters through childhood, adulthood and old age. So far, nothing new. However, the tragedy that will overshadow them gives the film a very powerful human dimension, in a mixture of guilt, remorse and penitence.

Broken dreams, wasted lives, trapped in that house that seems to prevent them from moving forward and trying to do something that makes them happy. A house where the closest there is to paradise is a painting on the wall and a painting on the sideboard in the living room. The dinner service is also kept here for special occasions. This habit has always bothered me, apparently as Italian as Portuguese (or maybe it's not restricted to any nationality, maybe it's simply human), of keeping the best crockery, the best cutlery, the best towels, while we watch life passing by. And this will be one of the main messages of the film, to enjoy everything, not keep anything, not wait for what we don't know is going to happen.

When we see Maria, the eldest of the sisters, on her way home from work, performing the same dance steps as when she was young, with the difference that, as a young girl, she allowed herself to dream, we realize that her life was not, in fact, lived, the same dance becomes a cry of despair, of liberation. And, therefore, faced with the news of her announced death, she voraciously eats some cakes, as if that gesture represented everything she had not lived, in a kind of revenge.

In the end, we witness the dismantling of the sisters' house, after the death of the only one who never left it. Furniture and coffin descend through the same window, the moving van on one side, the hearse on the other, everything is disposable, including the human being.

Witness for the Prosecution (1957)

All Rise!

[10/10 · 2 February 2022]

Court movies fit into one of the most difficult cinematographic genres, because it is necessary to find the right balance between courtroom sequences and the rest, at the risk of becoming boring. Besides this, it is necessary to keep the levels of dramatic tension more or less high throughout the narrative. Maybe that's why it's a category that has lost interest in developing it (as every rule has its exception, recently, THE CHICAGO 7, a 2020 film directed by Aaron Sorkin, proved that the genre continues to be capable of attracting attention and providing good stories).

One of the films that appears in the list of the best courtroom films of all time is WITNESS FOR THE PROSECUTION (1957), directed by Billy Wilder. From the photography to the camera movements inside Sir Wilfrid's (Charles Laughton) home/office, to highlighting the hustle and bustle of the venue, contrasting to open and fixed shots in the courtroom scenes, everything is impeccable and enhanced.

The script is surprising and, being an adaptation of an Agatha Christie story, nothing else would be expected, with many surprises and twists, just as I like it. However, the maintenance of the mystery lies more in the uncertainty of the defendant's innocence than in the resolution of the crime itself.

The actors are technically very good, with special emphasis on Charles Laughton, the defense attorney, but all the interpretations give the film a theatrical mise-en-scène atmosphere that is a pleasure to watch. The voices of the actors lead us on this narrative path filled with dialogues where correct diction is stimulated and an essential aspect of the performance. Also of noteworthy are some comic relief scenes, starring Sir Wilfrid and Miss Plimsoll (Elsa Lanchester), which give a certain originality to the film (the actors were married to each other in real life).

We are, therefore, facing a pearl of the 50s, in which the use of flashbacks shows great care and modernity in the construction of the narrative, and allow to weave, in a much more appealing way, the plot around Leonard Vole (Tyrone Power ), the accused, and Christine (Marlene Dietrich), his wife. All rise!

After Life (2019–2022)

A must see

[9/10 · 17 January 2022]

Ricky Gervais' witty and caustic humor has been flourishing since the days of "The Office" (2001-2003), "Extras" (2005-2007) and "Derek" (2012-2014), so it is no news that he writes very well and with intelligence. What really surprises in "After Life" (2019) is the association of these elements with a sensitivity and understanding of the human being that "Derek" already foreshadowed, which are interwoven with scenes of laughter. Although the starting point of the story is death and all the sadness, revolt and giving up that this entails, there is a balance with humorous fragments.

As the series title indicates, we will follow the journey of the main character (Tony), represented by Gervais, in another existential plan, after the death of his wife, after the happy life they both shared. And it is in the assumption of this new existence of Tony, permanently dominated by the idea of suicide, that the series gains greater complexity: the protagonist crosses and deprives himself with different characters, all dealing with issues inherent to the human condition itself: the search for happiness, survival, loneliness, aging, death. Other characters appear as representatives of marginalized social groups (similarly to what Jesus Christ did, Tony finds something deeper in them other than their social or professional circumstances).

For all this, for being made of life and humanity, it makes us laugh, cry, reflect. It is beautiful and philosophical, funny and deep at the same time.

Adventures in Babysitting (1987)

The teen comedy at its best

[8/10 · 17 January 2022]

It may not be intellectually correct to enjoy a teen comedy without any other subliminal purpose other than to entertain and, in between, to make you laugh. But the truth is that I really like this Adventures in Babysitting (1987). I came into contact with this gem from the 80's (it's already a cult film) in the early 90's. Needless to say, I loved it. This is director Chris Columbus' first film and he already shows a sharp sense of humour and a grate taste for music. The group of young actors is phenomenal, the performances of Elisabeth Shue, the heroine of the story, Calvin Levels as the sympathetic car thief, Vincent D'Onofrio as the owner of the workshop very similar to Thor and Penelope Ann Miller, the friend who runs away from home, are remarkable. But, in general, all the supporting actors embody their role well, the script is funny and original, the action is always surprising us and the music is very good. In fact, it plays a key role in the development of the story, even ending up being an integral part of it. The phrase "Nobody leaves this place without singing the blues", uttered by Albert Collins himself, has already taken on mythical contours, as well as the performance of Southside Johnny and Asbury Jukes at the university party.

The Woman in the Window (2021)

Good entertainment product

[7/10 · 17 January 2022]

The Woman in the Window (Joe Wright, 2021), like the book that gave rise to it (by writer A. J. Finn), is openly inspired by the 1954 Hitchcockian classic, Rear Window. In fact, at the beginning of the film, when we see, in close-up, a television with the image of James Stewart being asphyxiated, we realize that this evidence is being played with, perhaps in a tone of announcing the final confrontation between the protagonist and the villain. Furthermore, the setting in front of the house of the woman in the window is very similar to the one in Alfred Hitchcock's film (although less captivating) and even Gary Oldman's stark white hair is reminiscent of Raymond Burr's thick hair. The photo camera also plays an essential role in the voyeurism that drives the plot. In this film, Joe Wright proves, once again, the refinement of his camera, capturing everything with elegance and taking us through the rooms of the character's house, almost in a labyrinthine way, as if it were her mind.

It is always her perspective that is given to us, whether inside or outside. Amy Adams, in the lead role, conveys the anguish, mental confusion, despair, inherent to her character. It doesn't seem to me that the film has any intentions of being equal to Rear Window, a masterpiece that proves to be so in the opening sequence. It's a good entertainment product, with some interesting moments of tension and surprise, which the thriller genre demands. I see it only as a tribute to the master's universe.

In the Name of the Father (1993)

Beautiful and Unforgettable

[9/10 · 14 January 2022]

We are all more sensitive to this or that film, which for whatever reason become remarkable, are indelibly imprinted in our memories and accompany us throughout our lives. For me, one of those films is In the Name of the Father by Jim Sheridan (1993).

Among so many different and exquisite works that Daniel Day-Lewis has already accustomed us to, it remains one of my favorites, supported by a touching Pete Postlethwaite, the father of the title, both (deservedly) nominated for Oscars for best representation.

More than 25 years later, the final words of the protagonist still echo in my head - "in the name of my father and of the truth" - as if it were an appeal, towards a certain meaning of life, according to which injustices were easily annihilated and the confusion of the world fixed, thus preventing the good from experiencing "great torments" and the bad swimming "in a sea of contentment" (Luís Vaz de Camões).

Cobra Kai (2018–2025)

Cobra Kai, when the series surpasses the movie

[10/10 · 14 January 2022]

Who has never memorized Mr. Miyagi's famous teachings: "wax on, wax off"; "right the circle, left the circle"? 34 Years after the first The Karate Kid (1984 film, directed by John G. Avildsen and written by Robert Mark Kamen), here comes Cobra Kai (2018 - the fourth season is just as good), the sequel in series mode, and no one expected it to be this good. Re-encountering the characters of Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka) and knowing what their fate has in store is, to say the least, exciting.

LaRusso is now a successful car salesman with a stable and happy home life. In turn, Lawrence seems to have been deeply scarred by his defeat in the All Valley karate tournament, to the point that he was unable to achieve any kind of stability in his adult life. Both are the reflection of their sensei. One, the balance and principles of Mr. Miyagi, the other the revolt and aggressiveness of John Keese (although, gradually, a deviation from the original Cobra Kai is accentuated).

Of course, to boost the story, the paths of the two will cross again, also resorting to several flashbacks that recover scenes from the films, so well articulated with the current text that is a pleasure to see, and that allow the reintegration of mythical characters in significant appearances for the unfolding of the plot. We also get to know a little more about Lawrence's and Keese's pasts, in an attempt to justify their choices.

Johnny and Daniel embody two different views of life, materialized through karate. But now Johnny Lawrence's character gains greater psychological density and his dojo, Cobra Kai, will feed on those he previously disowned, subverting, in a very clever way, some of the elements of the film. And we even begin to sympathize with him and understand him better, which makes it all the more interesting. But in the race for integrity and self-regulation, LaRusso is almost always ahead, which will be crucial for these two to find a point of convergence.

The Hand of God (2021)

How Maradona saved Sorrentino

[9/10 · 14 January 2022]

È Stata La Mano Di Dio (2021), or how Maradona saved Paolo Sorrentino. The new film by the Italian director is autobiographical and features his fetish actor, Toni Servillo, who shows, once again, why he gained that status (since I saw Le Conseguenze Dell'Amore, from 2004, I became a fan of this partnership). An engaging and captivating narrative, visually appealing, sometimes leads us to laughter, other times to the deepest sadness. But this time, Sorrentino uses his most intimate memories and offers us a tale about family, loss, pain, discovery, life.

Don't Look Up (2021)

To look or not to look, that's the question

[7/10 · 14 January 2022]

I didn't have very high expectations for the movie DON'T LOOK UP (2021), because when there is a meeting of many stars, the director is almost forced to give airtime to each one of them, just to satisfy their egos. Fortunately I was wrong, because that is not what happens in the new film by Adam McKay (who had already ventured into the intricacies of politics in VICE, 2018), evidently influenced by the post-pandemic world, where social and political satire makes us reflect. About the inconveniences of a planet divided between those who look and those who refuse to do it. It's great when we are surprised and see that, after all, each of the actors takes on the role of their characters with remarkable dedication, camouflaging themselves to provide the best possible service to the story. I would, however, highlight Sir Mark Rylance, the English actor who embodies the technology guru with class, humor and containment, a combination difficult to find in a single performance.

The Birds (1963)

The Enigma of The Birds

[8/10 · 12 January 2022]

There is a kind of theory according to which a horror or thriller film would lose all its frightening effect if it did not have a musical support as a backdrop, and its greater or lesser intensity regulates the viewer's tension levels. And this is true, at least in most of these types of movies. But there is always an exception that proves the rule. In The Birds, an iconic film by director Alfred Hitchock (inspired by the eponymous short story by Daphne du Maurier), such musical intrusion was dispensed with, as the director wanted to give voice to these apparently harmless beings that terrorize the population of Bodega Bay (Bernard Herrmann appears in the credits only as sound consultant). The film, which dates from 1963, continues to promote an intense discussion about its meaning and the most varied hypotheses have been put forward, since the ending is left open, with the birds victoriously watching the removal of humans (of course Hitchcock knew that not giving an explanation would contribute to accentuating the mystery and interest that the film arouses, it is not his best film, but it is certainly one of the most enigmatic). Choosing the blonde on duty (one of my favorites) was also a winning bet. Tippi Hedren, the unlikely heroine, perfectly plays the role of the fragile young woman, who is able to stand up to the bloodthirsty bird though. Her image of scared eyes and disheveled hair covering herself with her hand is memorable. As far as I am concerned, the scene dominated by the couple of lovebirds always comes to mind, swinging along the curves, in the convertible on the way to Bodega Bay, inside a cage, without having the right to enjoy the landscape, as a trigger for the revolt of the birds.

A Rainy Day in New York (2019)

A Typical Woody

[7/10 · 12 January 2022]

Woody Allen returns to Manhattan in A Rainy Day in New York (2019), once again presenting his fans with some typically Allen clichés. The protagonist is Gatsby (in an obvious allusion to the novel by F. Scott Fitzgerald), played by Timothée Chalamet, who although giving the character a personal tone, being quite convincing and captivating, reminds a lot of the Woody Allen actor of the 70s and 80s, either by the way of dressing or by the way of moving. In fact, all actors efficiently fulfill the role assigned to them.

I would say that this is a film with many Woody Allens in it, from the young director at the beginning of his career, to the established and recognized director who is going through an artistic crisis, through the screenwriter and even the alter ego of Woody himself (Gatbsy). For that very reason, this film seems like a self-reflection by the director, camouflaged by an apparently simple story.

Sustaining the plot, which flows with intelligent and fun dialogues, the hallmark of the director/screenwriter, is the magnificent photography by Vittorio Stotaro, which makes New York insinuate itself as a co-protagonist. For me, this film was a pleasant surprise, although some aspects are not very credible, what does it matter?

The Remains of the Day (1993)

A Sublime Film, Two Perfect Ators

[10/10 · 12 January 2022]

It was the year 1994, and I, a teenager movie enthusiast, was anxiously awaiting another Oscar ceremony, since the list of candidates included very interesting titles, such as Schindler's List (Steven Spielberg); In the Name of the Father (Jim Sheridan); The Remains of the Day (James Ivory); The Fugitive (Andrew Davis) and The Piano (Jane Campion).

It was a cinematographic year that marked me, not because of the big winner consecrated there, Schindler's List, but because of The Fugitive (a Harrison Ford fan) and, above all, because of the titles In the Name of the Father and Os Despojos do Dia, which continue to appear on my list of all-time favorite movies. Having recently reviewed The Remains of the Day, I was able to confirm what struck me as a teenager: a masterful achievement by James Ivory (it is, by the way, to praise his predilection for literary works - the film was inspired by the book by Kazuo Ishiguro, Nobel of literature in 2017) and played by Anthony Hopkins and Emma Thompson, two irreproachable actors, in their mannerisms, in the articulation of the dialogues, in the facial expressions, without excesses, all in the right dose. Hopkins even represents with his eyes, managing to convey the essence of that dignified and faithful butler. It seems, however, that this magnificent film was overshadowed by Schindler's List, which dominated the spotlight in 1994.