BILANCIO IN PARITÀ: 5-5 In Coppa dei Campioni/Champions League, Juve e Real si sono sfidate in 10 occasioni e le due squadre hanno potuto gioire 5 volte per parte. I blancos hanno però vinto le due finali disputate, quella del 1998 e del 2017. In semifinale sempre bene i bianconeri [...]
Adel Karam goes back to his hometown to appear at Beirut's renowned Casino du Liban where his standup pokes fun at everything from relationships to regional social issues with his distinctly local blend of smart, sarcastic humour.
Lee Marvin and Toshiro Mifune are the stars of Hell in the Pacific, and there’s nobody else in the movie — just this American soldier and this Japanese soldier stranded on a Pacific island during the Second World War, and neither speaking a word of the other’s language.
Visually, the movie is without depth or shading, and often the compositions seem cramped; possibly the chalky, off-key look was by choice, but, if so, I'm not sure what dictated it. This is Kurosawa's first period film in color, and he has used color in an eerily unrealistic, painterly way.
2001 no less than Dr. Strangelove is an apocalyptic vision: it i is an alternate future but no less pessimistic. Beneath its austerely beautiful surface an alarm is sounded for us to examine a problem of which Dr. Strangelove was a pronounced symptom: the possibility that man is as much at the mercy of his own artifacts as ever he was of the forces of nature.
Louise Sweeney, New York-based film critic for The Christian Science Monitor, wrote a generally favorable review following the New York premiere of 2001: A Space Odyssey. Boston staff critic John Allen’s full-page review appeared in the Monitor a month later and M-G-M reprinted it as an ad in a Sunday edition of The New York Times.
In the early winter of 1972, a Maine housewife dusting her husband's makeshift study fished a discarded manuscript out of the wastebasket and sat down to read it. When Stephen King returned from teaching high school English that evening, his wife, Tabitha, persuaded him to resume work on the abandoned novel, despite his conviction "that I had written the world's all-time loser."
Any annoyance over the ending—if indeed it is widely felt—cannot really compromise Kubrick’s epic achievement, his mastery of the techniques of screen sight and screen sound to create impact and illusion.
Sometimes the components of a picture seem miraculously right and you go to it expecting a magical interaction. That's the case with Popeye. But it comes off a little like some of the Jacques Tati comedies, where you can see the intelligence and skill that went into the gags yet you don't hear yourself laughing.
The Catholic Church are very worried about you all reading The Da Vinci Code. And in fact, in January last year, the Vatican actually issued an official statement reminding Dan Brown readers that the books are largely fictional and full of historically unverifiable information...
After we have seen a stewardess walk up a wall and across the ceiling early in the film, we no longer question similar amazements and accept Kubrick's new world without question. The credibility of the special effects established, we can suspend disbelief, to use a justifiable cliche, and revel in the beauty and imagination of Kubrick/Clarke's space.
As part of a police effort to suss out the workings of serial killer Buffalo Bills mind, rookie FBI Agent Clarice Starling (Foster) is assigned the task of interrogating Hannibal “The Cannibal” Lecter (Hopkins). Having extracted the information that she suffered verbal abuse from fellow prisoner Miggs (Stuart Levine) on the way in (“I can smell your cunt,” he hisses charmingly), the good Doctor turns the conversation towards fragrances of a less personal nature...
Polanski's Tess is Hardy's Tess of the D'Urbervilles under sedation. The film has a penitential attitude toward the suffering that men inflict on women. This Tess becomes a tribute to women's dear weakness.
We Still Kill the Old Way is an unusual thriller, for it’s not about a big heist or a cute gang of thieves and it doesn’t ingratiate itself by making things easy for the hero or the audience.
I think If . . . . will be a success, but I think it’s far from a masterpiece, and I should like to make this distinction, because so many people are beginning to treat “youth” as the ultimate judge — as a collective Tolstoyan clean old peasant.
CLASS AND ALLEGORY IN CONTEMPORARY MASS CULTURE: ‘DOG DAY AFTERNOON’ AS A POLITICAL FILM – by Fredric Jameson
Dog Day Afternoon seems to have a great deal more overt political content than we would normally expect to find in a Hollywood production.
Far from showing an ignorance of horror, as King asserts, the film shows Kubrick's depth of knowledge of film form and its possibilities.
Hurricane Marlon is sweeping the country, and I wish it were more than hot air. A tornado of praise—cover stories and huzzahs—blasts out the news that Brando is giving a marvelous performance as Don Corleone in The Godfather, the lapsed Great Actor has regained himself, and so on. As a Brando-watcher for almost 30 years, I’d like to agree.
Spartacus ha il pregio di inserire una voce autentica nella grande produzione di Hollywood e dunque di incidere sul gusto di milioni di spettatori e di dimostrare che incassi ed impegno d’arte non sono per forza in contraddizione fra loro.
With 2001, we learned the real depth and mass of space, and discovered that “The Ultimate Trip” was going to be a cold, lonely one—an adventure more daunting to the psyche than the body.