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  • Moulin Rouge!

    Moulin Rouge!


    The essence of kìnesis and so much more. I have just too much on my mind right now, I need some time to elaborate and go longer on this.

  • Crimson Tide

    Crimson Tide


    A lesson in holding your breath for a couple of hours. Interpersonal conflict is always the fundamental key in Scott's cinema, but he takes the tension close to an unbearable limit here. A war of words and sweat that begins before everything takes place, wit against wit, but also a war of ideals and ideas that have to live up to the spur of the moment. The closed quarters of the submarine push it even further, hardly creating the space necessary to think. One of Scott's most tightly tense efforts.

  • Socrates



    I admit I wasn't convinced at first, probably because the idea of Socrates I have in mind is of on a uglier man. Still a genius, but uglier nonetheless. Then I started to appreciate Rossellini's ability to build political drama without losing the power of Socrates' words. I don't know if Rossellini found parallels between his life and Socrates', but I'm glad he preferred a somewhat exile to the drink of death.

  • China Gate

    China Gate


    Fuller swims in the mixed-race waters of colonialism and war understanding that the two sides of a conflict are just one and the same when it comes to hope. Then he threatens the viewer by pointing at a conflict beyond the guns and the explosives, something always about to blast: Heraclitus' polemos happening within ourselves all the time.

  • Enemy of the State

    Enemy of the State


    It'd get something more if it wasn't for my ever-increasing hate for Jack Black and chases that could be more effective had they been shorter. Anyway, Scott keeps it all bouncing back and forth between many faces and voices, and he's able to give its fragile structure some sort of controlled balance. Still politically relevant, and frightening so.

  • Anna



    Besson can hardly shake his whole women-power-through-the-eyes-of-men tic off, can't he?

  • Fifty Shades of Grey

    Fifty Shades of Grey


    First things first: I know nothing about the book, I know nothing about the director, and I didn't even notice this film when it came out. There, my ignorance on display.

    My problem with this kind of picture is that intimacy is one of the hardest, if not the hardest, thing to get right in cinema. It's not a matter of showing off genitals, it's a matter of chemistry. You must find the right actors, you have to understand how…

  • The Heisters

    The Heisters


    A silent film with overtly exaggerated sound effects pointing to Hooper's fascination with image-meddling sounds. Or a cartoon-like accumulation of nonsensical bits of narration orchestrated by the notes of a flamboyant orchestra. Young Hooper wasn't ready for his obsessions yet, but he sure knew their rhythms.

  • Crocodile



    As I already wrote in other reviews of Hooper's works, the man knows how to bring out the most annoying traits from his characters, especially when they are testosterone-charged youngsters. But we have the winners here: Hooper's lot has never been more brain damaging. Add to that an annoying soundtrack, and you can already imagine how long it takes for Crocodile to get on my nerves. However, the twisted humour kind of makes it worth a watch for me. Take…

  • Hearts of the World

    Hearts of the World


    It all starts with the ups and downs of naive melodramas in an apparently idyllic village. But aren't all villages apparently idyllic places, anyway? Is Griffith suggesting we question the naivety? From what I've seen so far from him, it's never only a matter of showing a lovely story, and the way he caresses Gish here (e.g., the fabulous pan to her feet, not to mention her otherworldly eyes) alludes to a sensuality with more subtle emphasis than many after…

  • Toolbox Murders

    Toolbox Murders


    This only gets better at a second viewing, because even though the DVD can't make enough justice of the visuals, it's just fantastic to notice the surroundings and the frightening nothing that happens most of the time under those lights and with those colours. It's a toned down digital, darker shades of orange, green, and brown immersed in weak lights, everything conveying decay and isolation, dirt and dust. The environment is scary (Carpenter?), the neighbours are scary (Romero?), the humour…

  • The General Line

    The General Line


    The necessity of mechanization is the dream of a giant leap into evolution or just the natural progression to keep living in the face of adversities? The roots that keep you firm on the ground aren't just the same roots that stop you from moving? Since Nature is too great a thing, know it, face it, and understand it before transforming it. Fail to do so and development simply cannot work. Eisenstein always on point.