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An insane film, combining typical Nolan traits with a maturity seen very little in recent times. One of the best casts in cinematic history plays those who were the most influential scientists of the 19th century, resulting in a masterpiece.

"As beautiful as it is heavy," one can read on the web. An opinion that can be shared, as upon leaving the theater there remains a sense of bewilderment, of concrete fear, as much as of awareness of having re-experienced what changed humanity.

"The destroyer of worlds" is a cynical but remorseful person, a living contradiction, ultimately a "good" character (or rather, less bad than the others), for whom one builds a certain empathy. Some of the scenes are incredible, goosebumpy. 3 hours that fly by, making you reason about the cruelty of humans but making you understand how, in a way, it was all inevitable: killing lives to save others. A somber thought that has unfortunately become a sad reality.

Oppenheimer changes you. That is the best summary that can be made.

Super Mario Bros does not stand as a deep, introspective film (it is certainly not a Pixar masterpiece), rather it appeals to the most classic of audiences: children. Nor is this entirely true, as various generations are united by a passion for that quirky Italian plumber.

Mario and Luigi are bound by a brotherhood never questioned and Bowser (Jack Black's crazy vocal performance) is the typical villain driven by silly but true ideals. But it's all so good. The music is spot on (this mix of pop culture and Nintendo is perfectly successful), the dialogue is simple and direct, and visually it is something incredible.

There are also so many numerous references to all the Super Mario games, from the platformer we all know to the fun (though undoubtedly infuriating) karts.

In short, successful experiment. Not every movie has to make you see reason, and Super Mario Bros is the perfect example of how you can become a carefree child again in just an hour and a half.

Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo's groundbreaking slice of life on the set of a shoddy Italian TV drama leads Francesco Pannofino (René Ferretti) and the entire cast of Boris to create something memorable. In this regard, the quotes remain milestones of Italian comedy over the years.

This series was indeed a panacea for the questionable palates of the mediocre Italian audience, which in this case nevertheless fully understood the harsh but hilarious criticism that was being made of the whole rotten TV industry.

The characters are simply spot on; there is no star more of a star than Stanis, no slave more of a slave than Lorenzo, no "cursed b*tch" more of a "cursed b*tch" than Corinna. Some of the gimmicks are then ingenious: stupid and absurd but, alas, feasible ideas.

The direction of the series (the real one, not of "Eyes of the Heart") is, perhaps deliberately, quite crude and "Italian"; but all in all it's okay. The dedication in the season four finale, on the other hand, is touching, and brings to fruition the path that leads us to empathize with those slackers of the screenwriters (the directors themselves).

To them I say: thank you for this gem, albeit too "Italian".