L’arrivo, sugli schermi nazionali, di Nosferatu, il principe della notte ci induce ad un esame critico dell’opera dell’autore, Werner Stipetić Herzog, regista di origine jugoslava nato nei pressi di Monaco di Baviera nel 1942 (5 settembre), uno dei capifila del Nuovo Cinema Tedesco.
Puberty and Other Disasters: The Adventure of Growing Up in Pixar’s Sequel. Less groundbreaking than the original but captivating and profound, with irresistible moments and heart-wrenching scenes (the arc of Anxiety).
Designed and orchestrated for a teenage audience, Inside Out 2 by Kelsey Mann blends teen and sports movie elements, multiplying emotions but not amplifying them. It’s entertaining but lacks the philosophical depth of the previous film by Pete Docter.
Young teacher Carla Nowak’s theft investigation in a multicultural German school reveals racial tensions and ethical dilemmas, challenging societal harmony.
“Gladiator,” a 2000 epic by Ridley Scott, revived the sword-and-sandal genre, featuring Russell Crowe’s acclaimed performance, with rich visuals and historical liberties.
Ceylan’s film examines the life of disenchanted art teacher Samet and his relationships in a remote village. It explores themes of intellectual crisis and the transient nature of existence.
A young teacher in Anatolia seeks escape to Istanbul amidst personal and societal contradictions. Ceylan’s film beautifully captures the fragile essence of human existence.
A sensational film that uncovers the classic within the contemporary, reveals cinephilia in the imagination, and finds the ordinary in the extraordinary. A masterful screenplay, Richard Linklater and Glen Powell are in top form.
“Umberto D.” di Vittorio De Sica chiude idealmente la stagione del neorealismo italiano, raccontando la disperata solitudine di un pensionato e del suo cane in un’Italia post-bellica sempre più indifferente.
Yorgos Lanthimos’s Kinds of Kindness blends his early cold, calculated style with recent vitality, exploring work, love, and faith. The film’s narrative and thematic elements are familiar, but Lanthimos’s provocative approach and direct intervention challenge viewers.
Ishana Night Shyamalan’s feature debut, with its highs and lows, is not just a byproduct of her father: it might be the birth of a new creative hub.
Chien de la casse explores a toxic friendship disrupted by new love, leading to growth and reconciliation. Realistic portrayal of provincial youth praised.
Almost everything good in “Chicago” comes down to Bob Fosse, who made Rob Marshall look good, leading to six Oscars. Fosse’s 1972 “Cabaret” remains a powerful, relevant masterpiece.
Tim Burton’s Beetlejuice follows the Maitlands, deceased and trapped in their home, who hire chaotic Betelgeuse to rid intruding Deitzes, blending dark humor and whimsical visuals.
Nadia Tereszkiewicz shines as a bearded woman in 19th-century rural France. A poignant melodrama, an unprecedented story of emancipation by Stéphanie Di Giusto
As a black comedy, it’s mediocre (Uma Thurman and Samuel L. Jackson aren’t enough to evoke Tarantino), and as a satire of contemporary art, it’s superficial: more a b-movie than a direct-to-video.
The film, directed by John G. Avildsen, is a patchwork of old movie bits, yet it’s emotionally effective and engaging. Stallone’s performance exudes a street-wise innocence that wins over the audience.
“Kinds of Kindness” by Yorgos Lanthimos explores power dynamics and identity through a surreal triptych. With intense performances and a bold narrative, it challenges conventional storytelling.
“Young Woman and the Sea” tells the inspiring true story of Trudy Ederle, the first woman to swim the English Channel, starring Daisy Ridley and directed by Joachim Rønning.
“Furiosa: A Mad Max Saga” explores the heroine’s origins in a post-apocalyptic world, blending myths and genres, and drawing parallels to our reality.
Pauline Kael finds One Flew Over the Cuckoo’s Nest powerful and engaging, with standout performances by Nicholson and Fletcher, though lacking in visual excitement.
Pauline Kael lauds “Carrie” for Brian De Palma’s masterful horror-comedy blend, Sissy Spacek’s stellar performance, and the film’s thrilling, trashy charm and innovative style.
Pauline Kael praises Ophuls’s lush, romantic style in “The Earrings of Madame de…,” highlighting its hypnotic rhythm and impeccable performances amidst a nostalgic elegance.
Anora, a rom-com by Sean Baker, explores class divides through a stripper’s week with a rich Russian. Entertaining but weakened by length and repetition.
Sean Baker remakes Pretty Woman in his own way: making his cinema take another step towards canonization. For the better rather than the worse.
“Mad Max Beyond Thunderdome” mixes humor, stunning design, and an ambitious plot in post-apocalyptic Australia. Max teams with Aunty Entity, faces exile, and rescues wild children.
Pauline Kael praises The Road Warrior for its intense, visually striking action but criticizes its lack of depth and emotional engagement, leaving viewers feeling hollow.
New chapter in the “Mad Max” saga: Miller and a heroine drawn from myth
From the dust of “Fury Road,” George Miller attempts a new epic among the deserts of Wasteland, where the narrative takes precedence over the more action-packed elements. Yet, there are still moments of great cinema
Mohammad Rasoulof brings the paranoia and constraints of a father, and a master country, into Competition: valuable but perfectible
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