Reviews

Even though this movie might not be Hayao Miyazaki's most famous or popular one, it's really special to me. Every time I hear the melody, it takes me back to when the protagonists first met, jumping around on rooftops, and it makes me feel a little sad for no reason. But that's what makes me love this movie more than any other.

If you're in the mood for a movie that delves into the humanistic aspect of war, this one might not hit the spot. It's all about the raw, brutal reality of a retreat, told from three unique angles and across three interactive timelines. Sure, there's some heroism thrown in, but it's all done in a realistic, logical way. What really stands out is how seamlessly it shifts between the characters' personal perspectives and a more objective view. The air-force battles and escape sequences are intense as hell. And let's not forget Hans Zimmer's music – it's incredible, adding an extra layer of immersion to the whole experience.

The movie stays true to real history, which makes the plot unoriginal. The director tries to make it more exciting and visually impactful by using his signature audiovisual techniques, like explosions, epic background music, and dynamic filmography. They try to turn a mediocre story (like a 20/100) into something that feels like a 90/100. However, it doesn't delve deeply enough into themes like humanity and war in a thoughtful and meaningful way. As a result, it looks impressive but doesn't touch my heart.

This movie is like a gorgeous portrait of Italian life, giving you a genuine feel of daily life in Naples, all seen through the lens of one specific person's experiences. Fabietto Schisa's coming-of-age story is really heartwarming. Even though the narrative jumps around a bit, it all ties together beautifully. The visuals are breathtaking, and the pace is very easy to follow. It's like stepping back in time to a world where love and heartache were all that mattered. It's a really artistic and emotionally charged movie.

"The Hand of God" takes you deep into both Fabietto Schisa's complicated feelings and the real world around him. It shows how his family and friends, who are just regular people with flaws but each with their own uniqueness, help him figure out who he is and influence the way he sees the world. By the end, you'll see how Fabietto takes all these life lessons and makes them his own in his real life.

7.5/10. Paolo Sorrentino made this road trip movie with his iconic audiovisual techniques, but I gotta say, it's not one of his best. Road trip movies can be kind of loose with the story, which is right up Sorrentino's alley, but this one tries to be heartwarming with only a bunch of scattered stories. Well, that's not what he usually does. I think he is better at handling deeper, more complex ideas.

The music is top-notch, really complementing Sean Penn's outstanding acting. There are also some standout moments in the filmography. But the pacing kind of lags and some of Sean Penn's lines might not be as impactful as they're meant to. It tries to address how the Holocaust impacted those who lived through it, but it feels a bit forced. On the other hand, the discussion about the father-son relationship is really powerful and relatable. In short, the movie has a grand concept, but it just doesn't hit as hard as it should.

This movie is just incredible—the music, the scenery, the acting, and the actors' looks. The story is humorous and tender, and the film is really creatively shot. Those scenes where the musician conducts a field of cows, and the director meeting up with his onscreen character, really made me cry; they're just so emotional.

Some parts could've been trimmed down or even left out altogether, especially the scenes with the kid, the old guy, the girl, and the actor – they felt really forced. But there are also a lot of beautifully captured quiet moments, like when the director sees the actors on the hill and those glances they give each other in the restaurant. When the music kicks in, it's almost like those moments become kinda sacred. And those two older actors are just incredible. Their scenes after the concert are so emotional and heartfelt.

It's pretty obvious that this movie has some issues. Like, the story drags on for too long, and many of the scenes later on don't really contribute to the main theme of personal growth. They kind of make it feel more like an over-the-top soap opera. But it's really genuine and touching when it comes to showing how intense first love can be and how both the bullies and their victims change over time. So, even with its flaws, it's still a good show in my opinion.

This anime has no deep message but captures what's happening in a teenager's mind. It shows how some of the stuff that happened while you're growing up can mess you up emotionally and make you traumatised. But the characters are all stereotypical, especially the side characters. It's like they're stuck in this old-school Kyoto Animation style, which takes away from the show a bit.

This story is so old-fashioned that it's trying to tackle topics like race and civilization in a way that doesn't fit today's standards. The actor is charming, but he's not really built like the traditional Tarzan. I mean, Tarzan should probably be more muscly. But that's not the biggest issue. The real problem is that this story shouldn't have been made into a movie. It's just too boring and unoriginal.

The main character is so charming I don't even care about the plot, even though it's pretty straightforward. The female lead is just unforgettable. Their relationship isn't your usual, overdone love story – it's got a fresh perspective without going overboard on how they fell for each other. And as for Tarzan, he's the total package – handsome scion of a wealthy family and the ruler of the jungle. Who can reject him?

The director uses wide-angle shots of Rome's beautiful scenery with close-ups of the characters' faces to show their feelings, creating a dreamy, psychedelic effect. He also uses other fantastic filming techniques like beautiful compositions, contrasting scenes, and symbolic images to portray the beauty of Rome, the main character's emotion, and the movie's theme.

It's surely a movie that will give rise to differing opinions. It doesn't stick to the typical rules of storytelling – it doesn't have a plot and is in more of a stream-of-consciousness style with a whirldwind of intricate details. But the visuals, editing, and music are top-notch, giving the film a really cool, artistic Italian vibe. It might leave you feeling disoriented or unsure, but that's part of the experience – it's challenging to push past just being overwhelmed and ponder what's happening.

8.5/10. This movie differs from the Hong Kong version because it doesn't go too deep into the identity crisis stuff. Instead, it's more about the cops and robbers playing this cat-and-mouse game. It starts with two separate stories that kind of go their own way, and they remind me of Quentin Tarantino – a lot of talking, cursing, violence, and jokes that will make you burst out laughing. The editing and music are both really good, and the plot twists at the end are amazing, bringing back all the classic heist movie elements.

This movie is like a great mix of method acting and montage techniques, and it gives a whole new spin to the story and the message compared to the original. Martin Scorsese wishes to express that no matter how hard we try, our destinies are already set in stone. The line between right and wrong, good and evil gets blurry because we don't have a choice. This movie is really great. Scorsese is talented as always, and Jack Nicholson's performance is top-notch.

This movie does a great job of keeping a good pace from start to finish. Even though I knew how it would end, the movie still made me feel all kinds of emotions. That's because the director, Giuseppe Tornatore, is really good at making you feel what the characters feel while keeping the story moving nicely. And Geoffrey Rush is amazing in it. He plays this really complicated character with many different sides, and he does it so well that it makes the movie even better.

Wes Anderson's movies are always a treat, with his one-of-a-kind style that tackles brotherhood and father-son dynamics. He always chooses warm hues and tends to exaggerate things a bit, and he's all about slow-mo and using music to set the mood. You know what I'm talking about if you've seen his work before. But if you're new to his films, it might take some getting used to. Personally, "The Darjeeling Limited" isn't my favorite, but this one delves deeper into family matters while being accompanied by some incredible tunes. So, if you're into movies about families, I'd definitely give it a shot.

This movie really hit me hard and left me feeling down for a bit. You can see the sadness in everyone's eyes in the film, especially when Margot's reminiscing about those kisses, which made me sad, too. It's like life and death, happiness and sadness, intelligence and ignorance all don't matter because all the characters remember is that they've never hated anyone else as much as they've hated themselves.