Severebutfair
Joined Aug 2023
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Reviews12
Severebutfair's rating
Doctor Strange in the Multiverse of Madness is a glaring example of style over substance, a film that sacrifices meaningful storytelling for relentless, hollow spectacle. While the concept of a multiverse holds immense potential, this movie fails to leverage it in any innovative or engaging way, instead delivering a disjointed mess that feels more like a series of poorly connected set pieces than a cohesive narrative.
The plot, if one can even call it that, is a convoluted mix of undercooked ideas and contrived character decisions. The titular Doctor Strange, a character with immense potential, feels sidelined in his own movie, playing second fiddle to Wanda Maximoff's erratic descent into villainy. Wanda's arc, while rich in WandaVision, is reduced here to a caricature, turning her into a one-note antagonist driven by the flimsiest of motivations. The emotional depth and complexity that made her compelling are thrown out the window for cheap shock value.
Director Sam Raimi's signature style-known for its quirky horror elements-feels awkwardly shoehorned in, clashing with the established tone of the Marvel Cinematic Universe. The result is a tonal inconsistency that leaves the movie oscillating between moments of cartoonish horror and unearned sentimentality. Raimi's penchant for campy visuals might work in isolation, but here it feels jarring and out of place, detracting from the film's already fragmented narrative.
The performances are uneven at best. Benedict Cumberbatch seems to be sleepwalking through his role, offering little of the charm or gravitas we've come to associate with Doctor Strange. Elizabeth Olsen does her best with what she's given, but her character's drastic turn is so poorly written that even her talent can't salvage it. Supporting characters like Wong and America Chavez are reduced to plot devices, adding little depth or dimension.
Visually, the film is a mixed bag. While some of the multiverse sequences are visually inventive, others are cluttered and overwhelming, lacking the polish and creativity one might expect from a project of this scale. The heavy reliance on CGI feels uninspired, and the action sequences, though abundant, are devoid of emotional stakes or real tension.
Worst of all, the movie feels utterly disconnected from the rest of the MCU. For a film that promises to expand the multiverse, it does shockingly little to advance the overarching narrative or introduce compelling new ideas. Instead, it feels like a throwaway entry, more interested in setting up future projects than telling a satisfying story in its own right.
In the end, Doctor Strange in the Multiverse of Madness is a frustrating, hollow experience - a movie that squanders its immense potential and ends up being one of the weaker entries in the Marvel franchise. It's an unfortunate reminder that even a universe as expansive as Marvel's is not immune to creative misfires.
The plot, if one can even call it that, is a convoluted mix of undercooked ideas and contrived character decisions. The titular Doctor Strange, a character with immense potential, feels sidelined in his own movie, playing second fiddle to Wanda Maximoff's erratic descent into villainy. Wanda's arc, while rich in WandaVision, is reduced here to a caricature, turning her into a one-note antagonist driven by the flimsiest of motivations. The emotional depth and complexity that made her compelling are thrown out the window for cheap shock value.
Director Sam Raimi's signature style-known for its quirky horror elements-feels awkwardly shoehorned in, clashing with the established tone of the Marvel Cinematic Universe. The result is a tonal inconsistency that leaves the movie oscillating between moments of cartoonish horror and unearned sentimentality. Raimi's penchant for campy visuals might work in isolation, but here it feels jarring and out of place, detracting from the film's already fragmented narrative.
The performances are uneven at best. Benedict Cumberbatch seems to be sleepwalking through his role, offering little of the charm or gravitas we've come to associate with Doctor Strange. Elizabeth Olsen does her best with what she's given, but her character's drastic turn is so poorly written that even her talent can't salvage it. Supporting characters like Wong and America Chavez are reduced to plot devices, adding little depth or dimension.
Visually, the film is a mixed bag. While some of the multiverse sequences are visually inventive, others are cluttered and overwhelming, lacking the polish and creativity one might expect from a project of this scale. The heavy reliance on CGI feels uninspired, and the action sequences, though abundant, are devoid of emotional stakes or real tension.
Worst of all, the movie feels utterly disconnected from the rest of the MCU. For a film that promises to expand the multiverse, it does shockingly little to advance the overarching narrative or introduce compelling new ideas. Instead, it feels like a throwaway entry, more interested in setting up future projects than telling a satisfying story in its own right.
In the end, Doctor Strange in the Multiverse of Madness is a frustrating, hollow experience - a movie that squanders its immense potential and ends up being one of the weaker entries in the Marvel franchise. It's an unfortunate reminder that even a universe as expansive as Marvel's is not immune to creative misfires.
Max Miecchi's AI - Artificial Intelligence is an ambitious and thought-provoking short film that masterfully blends the human and the synthetic in a narrative as engaging as it is poignant. In a brisk runtime, Miecchi manages to deliver a film that is visually captivating, intellectually stimulating, and emotionally resonant.
From the opening moments, the aesthetic of the film grips you. The visuals are sleek yet grounded, capturing a world where advanced technology seamlessly integrates into daily life. The attention to detail in the set design and cinematography deserves high praise, as every frame feels purposeful, contributing to the storytelling without ever feeling heavy-handed. The lighting, in particular, is used to great effect, shifting from warm, natural tones in human-centric scenes to cooler, more clinical hues in AI-focused moments.
A Visionary Storyline
The narrative of AI - Artificial Intelligence explores the nuanced relationship between humans and artificial beings, avoiding the tired trope of machines as either saviors or destroyers of humanity. Instead, Miecchi delves into the gray areas, examining themes of identity, morality, and interdependence. The dialogue is sharp, often laced with subtext that invites viewers to think deeply about the implications of technological advancements.
One standout aspect is how Miecchi humanizes the AI characters, making them more than just tools or antagonists. By imbuing them with desires, flaws, and even humor, the film challenges us to reconsider what it means to be "alive." The emotional stakes are heightened by this empathetic portrayal, and the climactic scenes pack a punch because we care about every character, human or otherwise.
Performances That Shine
The cast is uniformly excellent, with every actor delivering nuanced performances that elevate the film's themes. The protagonist, played with incredible subtlety and emotional depth, anchors the film with a performance that feels both raw and authentic. The actor portraying the primary AI character deserves special mention; their ability to convey emotion with understated yet impactful expressions is mesmerizing, making the audience question where the line between human and machine truly lies.
Technical Brilliance
Beyond its narrative strengths, AI - Artificial Intelligence is a technical marvel. The sound design is particularly noteworthy, blending mechanical hums, synthetic tones, and natural soundscapes to create a sonic environment that mirrors the film's thematic concerns. The score complements the narrative perfectly, with haunting melodies that linger long after the credits roll.
The editing deserves applause as well, maintaining a brisk pace without sacrificing emotional beats. The transitions between scenes are seamless, and the film's climax builds to a crescendo that is both satisfying and thought-provoking.
A Message for the Ages
What sets AI - Artificial Intelligence apart is its ability to spark conversation. Miecchi doesn't provide easy answers or indulge in didacticism. Instead, he invites viewers to grapple with complex questions: What responsibilities do we bear toward the entities we create? How do we navigate the ethical dilemmas posed by advanced technology? And, most intriguingly, what does it mean to be human in a world where the artificial can so convincingly mimic the real?
Final Thoughts
Max Miecchi's AI - Artificial Intelligence is a triumph of storytelling, direction, and technical execution. It's a short film that punches well above its weight, leaving an indelible mark on its audience. Whether you're a fan of science fiction or simply someone who appreciates a well-told story, this is a film that demands to be seen.
In a world inundated with stories about artificial intelligence, Miecchi has managed to craft something truly original. AI - Artificial Intelligence isn't just a film-it's an experience, and one that will leave you reflecting on its themes long after the screen goes dark. Bravo, Max Miecchi! This is a masterpiece.
From the opening moments, the aesthetic of the film grips you. The visuals are sleek yet grounded, capturing a world where advanced technology seamlessly integrates into daily life. The attention to detail in the set design and cinematography deserves high praise, as every frame feels purposeful, contributing to the storytelling without ever feeling heavy-handed. The lighting, in particular, is used to great effect, shifting from warm, natural tones in human-centric scenes to cooler, more clinical hues in AI-focused moments.
A Visionary Storyline
The narrative of AI - Artificial Intelligence explores the nuanced relationship between humans and artificial beings, avoiding the tired trope of machines as either saviors or destroyers of humanity. Instead, Miecchi delves into the gray areas, examining themes of identity, morality, and interdependence. The dialogue is sharp, often laced with subtext that invites viewers to think deeply about the implications of technological advancements.
One standout aspect is how Miecchi humanizes the AI characters, making them more than just tools or antagonists. By imbuing them with desires, flaws, and even humor, the film challenges us to reconsider what it means to be "alive." The emotional stakes are heightened by this empathetic portrayal, and the climactic scenes pack a punch because we care about every character, human or otherwise.
Performances That Shine
The cast is uniformly excellent, with every actor delivering nuanced performances that elevate the film's themes. The protagonist, played with incredible subtlety and emotional depth, anchors the film with a performance that feels both raw and authentic. The actor portraying the primary AI character deserves special mention; their ability to convey emotion with understated yet impactful expressions is mesmerizing, making the audience question where the line between human and machine truly lies.
Technical Brilliance
Beyond its narrative strengths, AI - Artificial Intelligence is a technical marvel. The sound design is particularly noteworthy, blending mechanical hums, synthetic tones, and natural soundscapes to create a sonic environment that mirrors the film's thematic concerns. The score complements the narrative perfectly, with haunting melodies that linger long after the credits roll.
The editing deserves applause as well, maintaining a brisk pace without sacrificing emotional beats. The transitions between scenes are seamless, and the film's climax builds to a crescendo that is both satisfying and thought-provoking.
A Message for the Ages
What sets AI - Artificial Intelligence apart is its ability to spark conversation. Miecchi doesn't provide easy answers or indulge in didacticism. Instead, he invites viewers to grapple with complex questions: What responsibilities do we bear toward the entities we create? How do we navigate the ethical dilemmas posed by advanced technology? And, most intriguingly, what does it mean to be human in a world where the artificial can so convincingly mimic the real?
Final Thoughts
Max Miecchi's AI - Artificial Intelligence is a triumph of storytelling, direction, and technical execution. It's a short film that punches well above its weight, leaving an indelible mark on its audience. Whether you're a fan of science fiction or simply someone who appreciates a well-told story, this is a film that demands to be seen.
In a world inundated with stories about artificial intelligence, Miecchi has managed to craft something truly original. AI - Artificial Intelligence isn't just a film-it's an experience, and one that will leave you reflecting on its themes long after the screen goes dark. Bravo, Max Miecchi! This is a masterpiece.
"I Cassamortari" is a 2022 Italian comedy that aims to be light-hearted and carefree but fails miserably in its intent, revealing itself to be a banal, superficial, and at times embarrassing work. Directed by Claudio Amendola, the film falls within the realm of popular Italian comedies but stands out more for its flaws than any possible merits.
First of all, the plot is incredibly weak and predictable. At the center of the story is the Pasti family, who run a funeral business. When the family patriarch dies, his children, who are far from interested in continuing the family business, find themselves facing a series of absurd situations to keep the company afloat. The problem is that the film cannot find a true direction: its attempts to be irreverent, comedic, and touching at the same time result in complete confusion. Events follow one another without coherent logic, and many of the gags seem thrown in randomly, with no regard for narrative structure.
One of the film's biggest issues is its script, which is embarrassingly flat and stereotypical. The dialogues are predictable and lack any spark or originality. The jokes are cliched and forced, giving the impression that the writers randomly picked from a book of comic clichés, without any concern for creating genuinely funny situations. The characters are also extremely flat: they are caricatures with no depth, who do not develop over the course of the story.
The cast, including actors such as Massimo Ghini, Gianmarco Tognazzi, and Lucia Ocone, does its best to save the sinking ship, but even the best comic talent can only do so much with such a lackluster and uninspired script. Their performances are caricatured, but not in a fun sense: they seem more like poorly executed parodies of characters already seen in dozens of other low-quality Italian comedies. As a director, Claudio Amendola fails to guide his actors effectively, letting them lose themselves in over-the-top performances.
From a technical standpoint, "I Cassamortari" also leaves much to be desired. Amendola's direction is banal and lacks any distinctive touch. The shots are anonymous, and there's no attempt to make the story visually interesting, which is already dull on its own. The editing is frenzied without purpose, contributing to making the film even more disorganized and chaotic. The cinematography, meanwhile, offers nothing memorable: it's rather ordinary and flat, lacking any creative idea that could elevate the film's overall tone, even slightly.
Another problematic aspect of the film is its tone. "I Cassamortari" tries to play with the theme of death, treating it comically, but it never manages to find a balance. The jokes about death and funerals often come across as distasteful and provoke neither laughter nor thought. The film seems unsure of which path to take: on the one hand, it tries to be a dark comedy, but on the other, it flattens into a childish and nonsensical humor that fails to hit the mark.
Emotionally, the film is a total failure. The few times it tries to strike a deeper chord, it does so clumsily and insincerely. Moments meant to be touching come across as forced and sappy, making any kind of empathy with the characters or their situation impossible. There's never any true exploration of the theme of death or the challenges a family might face in running a funeral business: everything is handled with superficiality and lightness, without any genuine reflection.
In conclusion, "I Cassamortari" is a film propped up by a poor script, mediocre performances, and uninspired direction. It is neither funny nor touching, instead proving to be a poorly conceived and poorly executed work. It fails to meet even the lowest expectations for a light comedy and ranks among the worst Italian productions of recent years. A film to forget quickly, if not for the lingering sense of frustration over the time wasted watching it.
First of all, the plot is incredibly weak and predictable. At the center of the story is the Pasti family, who run a funeral business. When the family patriarch dies, his children, who are far from interested in continuing the family business, find themselves facing a series of absurd situations to keep the company afloat. The problem is that the film cannot find a true direction: its attempts to be irreverent, comedic, and touching at the same time result in complete confusion. Events follow one another without coherent logic, and many of the gags seem thrown in randomly, with no regard for narrative structure.
One of the film's biggest issues is its script, which is embarrassingly flat and stereotypical. The dialogues are predictable and lack any spark or originality. The jokes are cliched and forced, giving the impression that the writers randomly picked from a book of comic clichés, without any concern for creating genuinely funny situations. The characters are also extremely flat: they are caricatures with no depth, who do not develop over the course of the story.
The cast, including actors such as Massimo Ghini, Gianmarco Tognazzi, and Lucia Ocone, does its best to save the sinking ship, but even the best comic talent can only do so much with such a lackluster and uninspired script. Their performances are caricatured, but not in a fun sense: they seem more like poorly executed parodies of characters already seen in dozens of other low-quality Italian comedies. As a director, Claudio Amendola fails to guide his actors effectively, letting them lose themselves in over-the-top performances.
From a technical standpoint, "I Cassamortari" also leaves much to be desired. Amendola's direction is banal and lacks any distinctive touch. The shots are anonymous, and there's no attempt to make the story visually interesting, which is already dull on its own. The editing is frenzied without purpose, contributing to making the film even more disorganized and chaotic. The cinematography, meanwhile, offers nothing memorable: it's rather ordinary and flat, lacking any creative idea that could elevate the film's overall tone, even slightly.
Another problematic aspect of the film is its tone. "I Cassamortari" tries to play with the theme of death, treating it comically, but it never manages to find a balance. The jokes about death and funerals often come across as distasteful and provoke neither laughter nor thought. The film seems unsure of which path to take: on the one hand, it tries to be a dark comedy, but on the other, it flattens into a childish and nonsensical humor that fails to hit the mark.
Emotionally, the film is a total failure. The few times it tries to strike a deeper chord, it does so clumsily and insincerely. Moments meant to be touching come across as forced and sappy, making any kind of empathy with the characters or their situation impossible. There's never any true exploration of the theme of death or the challenges a family might face in running a funeral business: everything is handled with superficiality and lightness, without any genuine reflection.
In conclusion, "I Cassamortari" is a film propped up by a poor script, mediocre performances, and uninspired direction. It is neither funny nor touching, instead proving to be a poorly conceived and poorly executed work. It fails to meet even the lowest expectations for a light comedy and ranks among the worst Italian productions of recent years. A film to forget quickly, if not for the lingering sense of frustration over the time wasted watching it.