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Reviews
Diabolik - Ginko all'attacco! (2022)
The novelty is wearing off
The sequel beats the same path as Diabolik (2021): a stylistic throwback to the 1960s and the (European mystery) cinema of the time, with a close adaptation of the feeling of the comic book. Unfortunately this means that it carries all the flaws of its predecessor, coming across as somewhat flat in performance, or didactic in the exposition. The overall vibe of the first movie was interesting enough to make it worth watching, but now the novelty effect starts to wear off. Isn't the planned trilogy too much, an experiment that has gone on for too long not to come across as self-serving?
The new plot doesn't make up for it. Eva Kant is replaced as the real focus of the film by Ginko, the police inspector relentlessly trying to track down Diabolik (like Ganimard to Lupin). Unfortunately, he's not as captivating of a character as Ms. Kant. Luca Marinelli has been replaced by Giacomo Gianniotti as the actor performing Diabolik, and thankfully he's barely given any screentime: while he may be physically more convincing he's less skilled than Marinelli and he's nowhere mysterious or charismatic enough for anyone to believe he should be this story's lead. Monica Bellucci simply shouldn't have been cast.
Not terrible, but it's a notch down from the first and it's increasingly showing a lack of direction. I worry for what's to come.
BAC Nord (2020)
A police viewpoint on urban poverty
Three plainclothes cops have to arrange a drug-busting operation in the crime-ridden working class neighbourhoods of Marseilles. To obtain the required intel they need to give several kilograms of hashish to an informant; unable to use that in the police vault they start seizing drugs from small-time buyers, stashing them at home. The operation is a success but there will be a price to pay.
The film is put together well and the main actors are fantastic. However, it suffers because of its narrative and worldview: while the police claims it wants to help the neighbourhoods' inhabitants and to be their only hope these law-abiding citizens are never seen. Instead, the city is a wholly hostile body where everyone, man or woman, kid or adult, appears to be a pickpocketer, a smuggler or a dealer of some sort, and the only possible approach to policing is that of militarisation to 'break down' these people. Despite going for a realistic and gritty tone this is inevitably two-dimensional and only shares one side of the story. Might be a tough one to swallow depending on your ideas and experiences.
Diabolik (2021)
A retro movie
Amoral thief Diabolik is planning to steal a pink diamond from the wealthy Lady Eva Kant. An expanded adaptation of the third issue of the comic (L'arresto di Diabolik, 1963), where Kant's character is introduced.
The movie, set in "the late 1960s" in the fictional Clerville, is crafted like an Italian giallo of the time. Aside from the attention to scenography and costumes this stylistic choice is clear in cinematography, the use of editing, and the screenplay. The pace is much slower that what you would be used to in an action movie or thriller today, giving more of a vague vintage 'mystery' vibe, and sometimes relying too much on exposition. None of the camp of Mario Bava's "Danger: Diabolik", however: this is still a movie that takes itself seriously.
The main actors have good chemistry, with Eva Kant emerging as the real protagonist of the movie, but the cold and detached portrayal of the title character isn't inspiring and the actors beyond the main trio are forgettable.
Overall a charming and well-made work, although the style may not go well with all audiences.
Destination Moon (1950)
Surprisingly good for its time
Despite multiple test failures a private venture builds a nuclear thermal rocket to reach the Moon. Sidestepping the opposition of the US government, four astronauts hastily launch towards our satellite.
Possibly the 'hardest' example of science fiction happening before actual spaceflight. There is no need for far-fetched alien civilisations or secondary plots because it's all about the voyage itself, and drama will be driven by its challenges (a spacewalk to perform repairs, or being short on reaction mass for the return trip).
The overall realism and almost didactic approach aren't for everyone, but it makes up for the weak characterisation and is truly refreshing in comparison to many other 50s sci-fi movies with trite plots and less funds (in fact, there are movies made today that still can't match this one's accuracy). Solid special effects, and the spacecraft's design is iconic. As expected from 1950 there are some blink-and-you-will-miss Red Scare motifs, with the launch failures being blamed on 'sabotage' and the push for the mission being justified in terms of beating 'them' to the Moon.
An interesting parallel with the somewhat-inferior Rocketship X-M, shot in a brief time and on a small budget to capitalise on the anticipation for Destination Moon, and much more pessimistic in its view of nuclear energy and mankind's chances of success.