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joeyramone78

Iscritto in data feb 2001
Ti diamo il benvenuto nel nuovo profilo
I nostri aggiornamenti sono ancora in fase di sviluppo. Sebbene la versione precedente del profilo non sia più accessibile, stiamo lavorando attivamente ai miglioramenti e alcune delle funzionalità mancanti torneranno presto! Non perderti il loro ritorno. Nel frattempo, l’analisi delle valutazioni è ancora disponibile sulle nostre app iOS e Android, che si trovano nella pagina del profilo. Per visualizzare la tua distribuzione delle valutazioni per anno e genere, fai riferimento alla nostra nuova Guida di aiuto.

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Recensioni25

Valutazione di joeyramone78
I Tenenbaum

I Tenenbaum

7,6
  • 8 gen 2002
  • Royally Good!

    Last night I experienced third viewing of Wes Anderson's "The Royal Tennenbaums" since it opened Friday. I know that sounds obsessive, but I've been quite fascinated with this film and besides, I have plenty of spare time on my hands. On the basis of his first 2 films "Bottle Rocket" and "Rushmore", Wes Anderson has become the only 90's-bred filmmaker to really earn my devotion. He's more prolific than Tarentino, more original than Guy Ritchie and more interesting than PT Anderson, so that made "Royal" my must-see film this year. I am not going to go into a long analyzation or critique of this film as I am sure plenty of other users on here are doing that already. Instead, I will simply say that I adore this film and give some of the reasons why. First off, the cast is magnificent. Gene Hackman carries every scene he's in with vibrance, energy and realism. Likewise, Anjelica Houston is marvelous as she makes her character endearing through her subtle performance. Then there are the two I was most skeptical of: Ben Stiller and Gwynth Paltrow. Although I have always found them to be immensely talented performers, I didn't know if the could convey the depth and quirkiness that a director like Anderson would probably demand without it coming off as nothing more than insincere mugging. I was totally wrong. Stiller plays the straight man-an uptight big brother with a deep streak of loneliness that he can't seem to hide. As for Ms. Paltrow, her performance may be her best yet-with her raccoon eyes, fur coats and Izon dresses, she's equal parts heartbreaking and hilarious. But I must say that I think the movie's secret weapon (and surprise breakout performance) is Luke Wilson's Richie Tennenbaum. He finds the perfect balance of sadness, isolation and loss that made him so endearing I never felt I was watching an actor perform. And of course, Bill Murray and Danny Glover can do no wrong. Likewise, the music was perfect and this is the first (and probably only) film to feature music by 4 of my all time favorite bands, the Rolling Stones, Ramones, The Clash and the Beatles. Actually, the latter was a muzak version of "Hey Jude", but it's still a Beatles song! I am not sure if I can place this film above "Rushmore", but it's certainly on par with that classic. At any rate, hats off to Wes Anderson and Owen Wilson for creating what is instantly one of the most memorable films of the new century. RATING: A-
    Non entrate in quel collegio

    Non entrate in quel collegio

    5,9
  • 4 nov 2001
  • Potentially good slasher flick falls short

    "House On Sorority Row" is one of the many nearly forgotten slasher flicks from the genre's golden age in the early 1980's. Directed by Mark Rosman, a former protege of Brian Depalma, "House" is a refreshingly stylish film from an era that produced mostly crap. IN fact, the most frustrating aspect of this film is just how good it probably could have been. Despite the lively direction and strong performances, the film eventually falls apart thanks to a clumsy and often laughable screenplay that does nothing to further what is actually a fairly clever story. The film's aforementioned strengths, also aided by a classy score from Richard Band, keep this movie from sinking to the level of such trash as say, "The Burning". Rosman's stylized direction shows plenty of DePalma influence, but flare can only carry a movie so far before it is at the mercy of the script, and this film has far too many moments ranging from contrived to downright silly that prevent "House" from being elevated beyond the status of a marginal slasher flick.
    Cape Fear - Il promontorio della paura

    Cape Fear - Il promontorio della paura

    7,3
  • 12 ott 2001
  • Gripping and intense, but also overdone

    "Cape Fear" is one of my favorite thrillers of the 90's. Although I agree with many critics and users that this film too often gets bogged down in contemporary horror (aka slasher flick) trappings, it's redeemed by intelligent writing and an outstanding cast. Robert DeNiro plays Max Cady, a whacked-out ex con just released from prison and dead set on destroying the life of the defense attorney (Nick Nolte) who let him get set up the river 14 years prior. By including Notle's wife and daughter (Jessica Lange and Juliette Lewis respectively) in his diabolical plans, Cady sets off a trigger of events that quickly turns his entire world upside down. Martin Scorsese directed this remake of the 60's b flick of the same name, but his version adds some fantastic new dimensions to the story that take this film beyond the standard thriller status of the original. As stated before, the only problem with this film is in it's tendency to allow itself to shift from a tense, suggestive thriller that leaves you on the edge of your seat to a blatant horror flick that instead leaves you cringing. However, even at it's most outrageous, "Cape Fear" never becomes too unbelievable thanks to the cast. DeNiro has never before or since been more menacing; with his portrayal of a self-educated, manipulative redneck pervert he commands the attention of the viewer every solitary second he's on the screen. As Sam Bowden, Nolte does paints a portrait of a sympathetic yet highly flawed character that's every bit as strong as DeNiro's. As Sam's wife, Jessica Lange goes a long way to elaborate on the character of the wife from the original; while the 60's version was a typical ornament female character, Lange brings the same sympathetic humanity to the film as Nolte. Juliette Lewis really got noticed for the first time here, and deservedly so-she's charming, innocent, cute and unnerving-just like your average teenage girl. With his direction, Martin Scorses turns "Cape Fear" into somewhat of a hyperbole, with varying success. The frantic camera work and extreme color schemes become contradictory-at once his style damage the attempts at suspense while taking the tension to extreme heights. Aided by Bernard Herrman's intense score (adapted from the original version of the film), "Cape Fear"-though flawed-is ultimately a fun, fascinating and often terrifying film that is part psychological thriller and part slasher flick.
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