Reviews
Doctor Strange in the Multiverse of Madness (2022)
A Chaotic Misstep for the MCU
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.
A.I. - Artificial Intelligence (2021)
A Glimpse into the Future
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.
I cassamortari (2022)
Pure garbage
"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.
Tenet (2020)
A riddle wrapped in itself
"Tenet" is undeniably one of Christopher Nolan's most ambitious and complex films, pushing the boundaries of both science fiction and narrative structure in ways that leave many viewers (and me) scratching their heads. The central concept of "inversion" - where objects and people can move backward in time - sets up a plot so intricate it feels like a labyrinth with no clear entrance or exit. If you're used to Nolan's layered storytelling, "Tenet" dials it up to 11, challenging not only your perception of time but also your patience, with scenes so dense they require near-superhuman focus to grasp even a fraction of what's happening.
The protagonist, played by John David Washington, is literally known as "The Protagonist," a nameless CIA operative pulled into a secretive mission to prevent global catastrophe. The narrative here veers away from traditional time-travel tropes; instead, Nolan introduces "time inversion," a concept where entropy is reversed, causing events to flow backward for certain people or objects. The film unfolds with The Protagonist teaming up with Neil (Robert Pattinson), an enigmatic and often too-calm companion, on a globe-trotting mission to stop the arms dealer Andrei Sator (Kenneth Branagh), who possesses technology that can destroy humanity. But following this plot requires navigating a complex minefield of forward-moving events and inverted sequences that play out simultaneously, often within the same scene.
Even the most straightforward scenes are riddled with perplexities. For example, it's nearly impossible to follow a conversation without feeling like you missed something important in the constant, muffled dialogue - a classic Nolan trademark that reaches its peak in "Tenet." The dialogue frequently drowns under the booming soundtrack or the hum of high-octane action, so just as you think you might be grasping the conversation, it slips out of reach. Explanations of inversion are rapid, sometimes a blink-and-you'll-miss-it affair, leaving many viewers in the dust as The Protagonist quickly moves from one timeline to another.
Nolan's trademark cerebral approach becomes a double-edged sword here. While he masterfully crafts intricate set pieces, they often overshadow narrative clarity. The "temporal pincer movement" - in which one team operates forward in time while another simultaneously operates backward - is visually stunning but is almost impossible to comprehend fully. And just when you think you've understood it, the story flips everything upside down, making it clear that the only way to truly understand "Tenet" may be to surrender to its confusion and enjoy the chaos.
Perhaps the most baffling part of "Tenet" is Nolan's decision to leave character development minimal. Nolan's protagonists are often shrouded in mystery, but "Tenet" takes this to a new level, with The Protagonist simply known as "The Protagonist." His motivations are vague, and we never truly understand what makes him tick. The audience isn't given much emotional ground to cling to, as characters are tossed into scenarios and timelines with little personal context, operating more as chess pieces than fully realized humans.
The film culminates in a climactic battle sequence that is a microcosm of the whole "Tenet" experience: chaotic, visually mesmerizing, and overwhelmingly confusing. This final scene, with armies moving backward and forward in time in a temporal war zone, is a dizzying spectacle, leaving audiences with more questions than answers. It's thrilling, but understanding it? Good luck. And yet, in all this madness, there's a subtle beauty. Nolan's concept of time inversion is an audacious attempt to make audiences feel the disorientation of time itself, drawing us into an experience that's almost hypnotic in its relentless complexity.
In the end, "Tenet" feels like a riddle wrapped in an enigma - it's less of a story to understand and more of a cinematic puzzle to experience. And maybe that's exactly what Nolan intended.
The Batman (2022)
A disservice for an iconic character
*The Batman* (2022) is a tedious, bloated mess of a film that tries to be a gritty, noir detective story but ends up a shallow imitation of better movies. Clocking in at nearly three hours, it drags on with little substance to justify the excessive runtime. The pacing is sluggish, and much of the plot feels convoluted or drawn out unnecessarily, making it a chore to sit through.
Robert Pattinson's Batman is flat and lifeless, lacking the charisma or intensity that previous portrayals brought to the character. Instead of a brooding, complex figure, he comes off as awkward and disconnected, often looking more like a sulking teenager than the Dark Knight. The film's attempt to show a "young, inexperienced" Batman results in a protagonist who feels out of place and hard to root for.
The villains are equally underwhelming. Paul Dano's Riddler is a caricature of a deranged psychopath, leaning so hard into his quirks that it feels forced and almost comical. His motivations, though aiming for a modern, socially conscious commentary, are poorly executed, making his character feel more like a generic madman than a true intellectual adversary for Batman.
Visually, the movie is relentlessly dark-literally and figuratively. While it's clear the filmmakers were going for a moody aesthetic, the constant dim lighting and dreary color palette make the film visually monotonous and often hard to follow. Instead of creating a rich, atmospheric Gotham, it just feels oppressively dull.
The action sequences, which should have been highlights, are disappointingly lackluster. They lack the kinetic energy or creative choreography that fans of the genre expect, and instead feel repetitive and unoriginal. Even the iconic Batmobile chase scene fails to provide the kind of adrenaline-pumping thrill the franchise is known for.
In the end, *The Batman* tries too hard to be a "serious" take on the superhero genre, but falls flat. Its pretentiousness overshadows any entertainment value, and the result is a film that is more style than substance, leaving little to engage with beyond the surface level. For a character as iconic as Batman, this film feels like a disservice.
Grave (2016)
A ridicule hype
"Grave" is an excruciating experience, and not in the way the filmmakers intended. From start to finish, it feels like a relentless assault on the senses, lacking any real substance or depth to justify its shock value. The plot, which is supposed to be a coming-of-age story with a horrific twist, is so poorly executed that it quickly becomes tedious and predictable. The characters are utterly unrelatable, their motivations are shallow, and their actions often make no sense, leaving you frustrated and disengaged.
The film's attempts at horror are more nauseating than terrifying, relying heavily on gratuitous gore and disturbing imagery rather than building any genuine suspense or fear. It feels like the filmmakers were more interested in making the audience squirm in discomfort than actually telling a compelling story. The pacing is erratic, dragging through endless scenes of mundane college life before abruptly throwing in over-the-top moments that feel out of place and forced.
Even the cinematography, which some have praised, feels gimmicky and pretentious, as if the director is trying too hard to be "artsy" without actually understanding what makes for good visual storytelling. The end result is a film that is as shallow as it is grotesque, with little to offer beyond its shock value. If you're looking for a horror movie with depth, suspense, or even just a coherent plot, look elsewhere. "Grave" is a hollow and pointless exercise in shock cinema that fails on almost every level.
Smokin' Aces (2006)
A disjointed experience
This is a chaotic mess that epitomizes style over substance. From the convoluted plot to the overblown action sequences, the film fails spectacularly on almost every level.
The story revolves around a motley crew of hitmen converging on a Lake Tahoe casino to kill Buddy "Aces" Israel, a sleazy magician-turned-informant. What could have been an intriguing setup quickly devolves into a nonsensical, hyper-violent disaster. The script is laden with incoherent subplots and character motivations that are either underdeveloped or outright absurd. The numerous narrative threads are so poorly woven together that it's nearly impossible to care about any of the characters or their outcomes.
Speaking of characters, "Smokin' Aces" boasts an ensemble cast featuring the likes of Jeremy Piven, Ryan Reynolds, Ray Liotta, and Alicia Keys, yet utterly wastes their talents. Piven's portrayal of Buddy Israel is grating and lacks any real depth, making it hard to root for or against him. Reynolds, known for his comedic timing, is out of his element in a role that demands a more serious tone. The rest of the cast, including Liotta and Keys, are relegated to one-dimensional caricatures, offering little more than empty posturing and hollow dialogue.
The film's pacing is erratic, lurching from frenetic action scenes to sluggish exposition without any sense of rhythm. The action sequences themselves are excessively stylized to the point of being cartoonish. The relentless barrage of bullets, blood, and explosions quickly becomes numbing rather than exhilarating. Carnahan seems more interested in showcasing gratuitous violence and flashy visuals than in crafting a coherent or engaging narrative.
Additionally, the film's attempts at dark humor fall flat, often coming off as tasteless and juvenile. The forced edginess and nihilism feel contrived, as if the filmmakers were trying too hard to emulate the success of better-crafted crime films like "Pulp Fiction" or "Snatch." Instead, "Smokin' Aces" ends up feeling like a pale imitation, lacking the wit, intelligence, and originality that made those films stand out.
The soundtrack, a cacophonous mix of rock and hip-hop, is another misstep. Rather than enhancing the mood or complementing the action, it frequently clashes with the on-screen events, further contributing to the film's disjointed feel. The cinematography, while occasionally stylish, often opts for gimmicky angles and rapid cuts that detract from any potential immersion in the story.
Perhaps the most egregious flaw of "Smokin' Aces" is its utter lack of emotional resonance. Despite the high stakes and constant peril, the film never manages to elicit genuine suspense or empathy. The characters are too thinly drawn and the plot too muddled for any real investment. By the time the credits roll, the overwhelming feeling is one of relief that the ordeal is finally over.
In conclusion, "Smokin' Aces" is a prime example of a film that prioritizes flash over substance, resulting in a hollow, disjointed experience. Despite a promising cast and an intriguing premise, it collapses under the weight of its own pretensions and inept execution. Avoid this film if you value coherent storytelling, meaningful character development, or even just a modicum of cinematic enjoyment.
The Matrix Resurrections (2021)
A Disastrous Sequel That Shouldn't Have Been Made
From the moment "Matrix Resurrections" was announced, fans were filled with a mixture of excitement and trepidation. Unfortunately, the final product overwhelmingly justifies the latter sentiment. This movie is a textbook example of how to tarnish a beloved franchise with a sequel that should have never seen the light of day.
Plot and Storytelling: An Incoherent Mess
The plot of "Matrix Resurrections" is an incoherent mess, lacking the innovative spark that made the original trilogy iconic. The narrative feels like a half-baked rehash of the first film, but without any of the originality or intellectual depth. Instead of expanding the Matrix universe in a meaningful way, the film regurgitates old concepts in a manner that feels both lazy and convoluted. It relies heavily on nostalgia, shamelessly recycling scenes and dialogue from the original trilogy without adding any new substance or context. The self-referential humor, meant to be clever, comes off as painfully self-indulgent, breaking any immersion or seriousness the story attempts to build.
Character Development: Non-Existent
The characters in "Matrix Resurrections" are pale shadows of their former selves. Neo, once a compelling and complex hero, is reduced to a brooding, confused shell of a character. Keanu Reeves' performance feels detached, as if he himself is unsure why he is back in this role. Trinity's return, while initially promising, quickly devolves into a gimmick, stripping her of the strong, independent identity she once had. New characters are introduced, but they lack depth and purpose, serving only as superficial plot devices rather than contributing meaningfully to the story. The new Morpheus, a pivotal character in the original trilogy, is disappointingly miscast and his role feels utterly pointless, failing to capture the essence and gravitas of the original.
Visuals and Special Effects: A Dull Spectacle
One of the most unforgivable sins of "Matrix Resurrections" is its failure to deliver visually. The original Matrix trilogy set new standards for special effects and action sequences. In stark contrast, the visuals in "Resurrections" are surprisingly subpar. The iconic bullet-dodging and wire-fu fight scenes have been replaced by generic, uninspired action sequences that lack the elegance and intensity of their predecessors. The CGI is inconsistent, at times looking cheap and unfinished. This is particularly disappointing given the advancements in technology since the original films. The drab and uninspired cinematography fails to capture the cyberpunk aesthetic that defined the series, leaving the film visually flat and uninteresting.
Themes and Philosophical Underpinnings: Hollow and Forced
The Matrix series is renowned for its philosophical depth, blending action with thought-provoking questions about reality, free will, and control. "Matrix Resurrections" attempts to continue this tradition but falls woefully short. The themes feel forced and superficial, lacking the profound insights that made the original trilogy resonate with audiences. The film touches on modern issues such as digital addiction and the influence of technology, but these themes are poorly integrated into the story, coming across as preachy and contrived rather than organically woven into the narrative. The meta-commentary on sequels and reboots feels like a desperate attempt to be relevant and self-aware, but instead it just highlights the film's own inadequacies.
Direction and Pacing: A Tedious Experience
Lana Wachowski's direction in "Matrix Resurrections" is a far cry from the visionary work seen in the original trilogy. The pacing is erratic, dragging in some parts and rushing through others, creating a disjointed and unsatisfying viewing experience. Important plot points are glossed over, while unnecessary scenes are dragged out, testing the audience's patience. The film's tone is inconsistent, oscillating between serious and campy, failing to find a coherent narrative voice. This lack of direction leaves the audience confused and disengaged, undermining any potential the film might have had to be a worthy continuation of the series.
Conclusion: A Franchise Better Left Untouched
"Matrix Resurrections" is a prime example of why some stories are better left concluded. It fails on nearly every front: storytelling, character development, visual appeal, thematic depth, and direction. Rather than honoring the legacy of the original trilogy, it diminishes it, making one question the necessity of its existence. For fans of the Matrix, this film is a bitter pill to swallow, serving as a stark reminder that sometimes, it's best to leave well enough alone.
Gli anni folli della velocità (2021)
Cinematic incompetence
"Gli anni folli della velocità" by Gabriele Ogiva is a nauseating concoction of cinematic incompetence and sheer absurdity. Ogiva's direction is a haphazard mess, with scenes that lurch from one incoherent moment to the next, leaving viewers bewildered and frustrated. The film's attempt to capture the essence of speed and excitement falls flat, as the frenetic pacing only serves to exacerbate the lack of substance. Characters are thinly drawn caricatures, devoid of any depth or relatability, making it impossible to care about their supposed plight. The plot, if it can even be called that, is a jumbled mess of clichés and contrivances, devoid of any semblance of originality or coherence. Overall, "Gli anni folli della velocità" is a cinematic trainwreck that should be avoided at all costs, and Gabriele Ogiva's direction only adds insult to injury.
Addio in febbraio (2022)
Waste of time
"Addio in febbraio" and its director, Gabriele Ogiva, present a dismal cinematic experience that fails to engage on any meaningful level. The film is a disjointed mess, lacking coherent storytelling and compelling characters. Ogiva's direction feels amateurish, with awkward pacing and uninspired visuals that do little to elevate the material. The plot is muddled and nonsensical, leaving audiences scratching their heads rather than emotionally invested. Despite attempts at profundity, the film comes across as pretentious and hollow, with themes that are poorly developed and ultimately meaningless. Overall, "Addio in febbraio" is a forgettable and regrettable entry in the world of cinema, and Gabriele Ogiva's direction does little to redeem it.
Mission: Impossible - Fallout (2018)
Great action, poor script
This episode attempts to revive a franchise that's already running on fumes, but sadly, it falls flat. While Tom Cruise's dedication to performing his own stunts is commendable, it's not enough to salvage a film that feels like a recycled version of its predecessors. The plot is convoluted and predictable, relying too heavily on overused action sequences that fail to elicit any real excitement. Despite the talented cast, the characters are one-dimensional and lack any real depth, making it difficult for the audience to invest in their journey. Overall, it's a forgettable addition to the series that offers little in terms of originality or entertainment value.
Sahara (2005)
A waste of time
An utter disappointment, a cinematic desert devoid of substance or coherence. With a plot as dry as the titular landscape, this film manages to squander its talented cast in a maze of clichés and mind-numbing action sequences. Matthew McConaughey's charm can't salvage this sinking ship, as the story sinks deeper into absurdity with each passing minute. A a cinematic catastrophe, a misguided attempt at adventure that leaves viewers stranded in a sea of mediocrity. Despite boasting a talented cast, the film fails to deliver anything remotely engaging. The storyline is convoluted, the dialogue cringe-worthy, and the action sequences laughably over-the-top. It's as if the filmmakers took every tired trope from the action-adventure genre and threw them together in a blender without any regard for coherence or originality. Save yourself the agony of enduring this desert of a movie and watch paint dry instead.