Tag: EXPRESSO

[EXPRESSO] Exhibition On Screen: Sunflowers (2021) | Now Available On CDi

Yeah, i changed my mind and on a whim went to see this limited screening event release.

This is actually the latest in the Exhibition On Screen gallery series of art documentaries, which already featured the dutch master painter Van Gogh twice (Van Gogh In Japan and Van Gogh: A New Way Of Seeing), which makes sense as many other films (documentaries and fiction) based on the life of Vincent Van Gogh and his art were and are still made regularly, with various degrees of quality.

So i was surprised by this one, as it centers on an apparently both specific and banal subject of Van Gogh’s output, his series of Sunflowers paintings, often mistaken as a single work but actually consist of 11 variations-iterations, and exploring the reasons why these prove to be incredibly iconic and popular for decades, the factual events (and theories) under which Van Gogh painted them, and some narrative inserts with actor Jamie de Courcey as Van Gogh.

Honestly, it explores the subject quite well, avoiding most of the obvious and beyond well known facts, and it being just a glorified advert for a museum (as they can be, like that one documentary about the Hermitage narrated by Jeremy Irons), while we do travel across the globe to see the 5 publicly owned pieces of the series (one in the Amsterdam Van Gogh Museum, of course), in what they differ from each other, and we go a bit deeper in the matters of restauration, of critique and preservation of these painting, as well into connected topic of botany, and the persisting popularity of what are – at first glance – very simple and almost banal in terms of subject.

Not great, but definitely a good art documentary, one coming in a comfortable 90 minutes package.

[EXPRESSO] The House (2022) | Trifecta Triumphant

New stopmotion animation film on Netflix with (also) animal people, you know i’m already in.

Even more since it’s a small anthology of 3 stories, one about a poor family meeting a miraculous proposal, one about an anxious ratman constructor trying to score estate success, and the last about an exhausted landlord, all tied together by revolving about the same house, while taking place in different epochs and with different kind of characters, going from humans to ratman and catmen.

The character models aren’t clay or the odd-papermaciè style seen in Mary Shelley’s Frankhole, but go for a very textured felt-wool look, with a very fuzzy feel juxtaposed to the horror atmosphere and visuals, even though just the first story has actual supernatural horror elements, there’s always a sinister or weird tone to most of the events, with some very stilish visuals to match.

Animation it’s top notch, the character models have very good designs and craft, and it’s a quite good trifecta of stories, with a balanced mix of horror, satire, drama and comedy, quite grabbing as you always wanna see where they’re going in exactly. I think the second one it’s arguably the best, as you never quite sure what direction it’s gonna go, gets weirder and has an even weirder ending.

And stuff like a trip-out insects & maggots musical sequence.

And free-roaming hippie catmen.

Honestly, i don’t really have much to complain about or add in general, if your ears peaked up like a fox at “animated stopmotion anthology film with lots of style and fun substance”, the chances are good you’re gonna like this one, easily. And it comes in a pretty good 90 minutes package, with everything in it feeling as long as it needs to be.

What a really great surprise, too. Excellent.

[EXPRESSO] El Paramo (2022) | Thy Patience Consumed

Some really fresh (as in “new”) Netflix content for me and you, El Paramo is set in 19th centhury Spain, where a family living in a remote house is haunted by an entity that feeds on their terror, and it falls upon the young boy Diego to save his mother from the entity… and herself.

…. or so this is premise as Netflix puts in the description. A correct synopsis that doesn’t spoil the experience, i’m not harping on that, i just prefer to describe this movie as “mother simulator”, since the mother not only has to suffer her husband basically disappearing and never coming back most likely due to the wars happening outside their isolated refuge, having to defend herself from a supernatural beast that she thought was just a legend, but also having to put up with her son, one of the most annoying and dumbass child character i’ve seen in a recent horror film.

Stupid, grating and spineless too, just in case the kid wasn’t annoying enough to deal with, even though it eventually leads to his character arc going where you would expect…but until the last act he doesn’t come off as the more sane and kind character he actually is, but as cowardly dumbass that almost makes this movie an accidental “anti-Babadook”, as for most of it i was rooting for the mother to get rid of both “annoyances”, not only the monster, and have some peace.

That said, let me stress that the movie it’s not bad, the setting it’s pretty good, the cinematography it’s also quite nice, the creature’s lore and design are spooky enough and played fairly decently for tension instead of jumpscares, and there are some atmospheric moments, but there’s just not much to it and overall it’s mostly average.

[EXPRESSO] The King’s Man (2021) | Tonal Clash Service

I quite liked the first Kingsman movie, even enjoyed the second one (even if it was uber cheesy, with the robodogs and Elton John and all), but i feel that maybe it would have been best if this didn’t became a series, as we are already going for the “origins of” storyline, but whatever.

The film – as you would expect – it’s about the foundation of the Kingsman’s intelligence agency, borne in Britain during the events of WW I by elite warriors that woved to silently defend humanity from its from villains and tyrants, which puts them against Grigori Rasputin and other conspirators led by a mysterious figure, intent in making Germany overwhelm Britain in the conflict.

This is not a bad movie, mind you, nor bad movies. I do feel like they had scripts for two different movies set in the Kingsman universe, and – maybe – afraid that with the current situation of theathers they couldn’t get another chance (also due to hypotethical series fatigue) at it, so here you go, you get the story of Orlando Oxford’s son wanting to enlist in the war to prove his worth, with a fairly serious war movie tone, and the over the top comic book style spy action fights that you’d expect from a Kingsman movie.

Both are quite decent and entertaining in themselves, which is laudable, but the tone (and the themes, honestly) doesn’t really match between the events on the WW I trenches and a delightfully excessive Grigori Rasputin using his mystical powers (which are somehow real) to cure a wound by licking it frantically, to say nothing of the charicatural characterization of the kaiser, czar and most of the villains.

Despite this, it’s definitely not a slog, cast it’s pretty good and overall it’s decent fun.

[EXPRESSO] Matrix: Resurrections (2021) | Present Day, Present Time

An obligatory preface: i didn’t see the movies since i was Matrix Revolutions in theathers, but i remember the story more or less. I say this because the storyline actually continued from Revolutions into the videogame Matrix Online, but i never played that or cared to read its wikia.

And i also know this already proved to be very divisive.

I can see why, as Lana Wachoski uses the premise as a meta-manifest to lament the absurdity of these “decade laters” sequels , publicly venting how she was basically badgered for decades in making a sequel despite no real plans for it, as it happens to every franchise with any following or nostalgia brought back from the cold dark grave, regardless if there was any point, merit or reason.

We live in a post-Space Jam 2 world, after all.

I will concede that this movie it’s flawed, it is, and i kinda hate when it goes “remember that?”, but at the same time this movie has actually the balls to use this meta-context in order to to make a real sequel to the series with something to say, instead of working as a banal “series best hits”.

I can’t assure you’ll like it, but i’d say it’s worth watching nonetheless because it has the edge of actually having a purpose, a vision (the plot has a pretty smart way to “modernize/justify” a fourth movie), not just to exist in absolute and risk averse complancency, the action it’s great, and it has heart, even if it’s flawed and at times so excessively earnest it becomes goofy, but the confidence still shines through.

Though with it feeling a bit long and some of the meta “gags” being sometimes grating, i can’t fully say it’s “good”.

But i still recommend seeing it, absolutely.

We made it to 2022

GOT TURRON?

Rejoice, o’ fellows, we actually made it to a new year. It will probably suck as much as 2021 since we’re gonna still have to deal with this fuckin pandemic shit, but if we actually try we can make it suck less and maybe even be done with this COVID crap.

Let’s try, why not?

Regardless, we made it so far, so give yourself a pat on the back, a tankard of whatever alcoholic beverage you prefer, and look forward to the EXPRESSO reviews of the new movies that are either NOW just dropping here in italian theathers (or are scheduled for months later, like Nightmare Alley won’t be seen here in cinemas until february or something, fuck’s sake), like Matrix Resurrections literally just released now here on January 1st 2022.

12 Days Of Dino Dicember are still going, after that full lenght reviews will be on a 1 week break or something, while EXPRESSO ones will release as soon as they are ready/i can see the films itself.

Also, just watched the Spielberg’s West Side Story remake on my free time, go see it, it’s pretty fucking good, definitely an excellent movie to end my 2021 cinema experience.

[EXPRESSO] Diabolik (2021) | Pulp Noir

My final EXPRESSO review of the year, and – unless something unexpected happens, or the COVID shit gets worse here – my last cinema experience till next year, and it happens to be a movie that likely won’t mean or say much to anyone outside of Italy, as in a new cinematic adaptation of italian comic book series Diabolik, a pulp fiction tale written by the Giussani Sisters, set in the fictional city of Clerville that follows the titular Diabolik, a brilliant and ruthless master thief, aided by his partner & lover femme fatale Eva Kant, and pursued by police inspector Ginko.

While it’s one of the most popular and well known italian comic series ever, i feel most people remember the older 1968 adaptation by Mario Bava… but this new one it’s nothing like that, at all.

This new adaptation actually it’s more faithful to the earlier stories of the Diabolik series, as it depicts Diabolik itself as incredibly ruthless criminal, murdering everyone he can get away with in order to get what it wants and needs to pull off incredible heists, while continuosly slipping away from the grasp of the police and inspector Ginko, in what sounds like a Lupin III-esque dynamic but quite isn’t.

The plot isn’t an origin story but works quite well as an introduction the series as a whole, as it features Diabolik’s soon-to-be lover & partner Eva Kant. And while it’s a good adaptation, the acting its great and the style is good, the story itself leaves something to be desired (not that interesting) and the script it’s a bit bloated.

Still, even if flawed, it’s a realized adaptation by the Manetti Bros, who stuck to an actual vision they had, instead of trying to chase trends and ape modern comic book movies.

[EXPRESSO] Spider Man: Far From Home (2021) | Multiverse Mayhem

I feel kinda bad for this part of the new Spider Man series because… yeah, let’s get this out immediatly, Marvel themselves already did it years ago as one of the best animated movies i’ve seen in a while, a miracle all the way that worked as well as it did also thanks to be being not bound to the fucking MCU. And that is finally getting a 2 part sequel too, really looking forward to those.

This one…. yeah, whatever, guess i’ll have to watch it so we can get over it, might be even fun.

This one follows directly from the ending of Far From Home, where Mysterio revealed Spider Man’s real identity being Peter Parker and framed him as a murderer. As he, his friends and family have trouble living with this false stigma, Peter asks Doctor Strange to cast a spell in order to make everyone forget that Peter Parker IS Spider Man, but something goes wrong and multiverse portals invade this reality/continuity, bringing a lot of well known faces from the Spider Man series……

Given the existence of Into The Spiderverse and me not liking too much the new MCU Spider Man movies…. you can color me surprised, because this one was incredibly easy to mishandle, but to my surprise it manages to balance the fanservice and the many villains with a story that actually makes this Peter Parker go through some decisive character development, with a lot at stake and some meaningful consequences.

It’s “also” quite fun, with some funny moments that actually don’t feel forced, there just because the Marvel algorhythm requires some quirky (but not TOO quirky, risque or creative) comedy bits.

Definitely the one i’ve enjoyed the most out of these MCU Spider Man movies, and arguably the better one overall.

[EXPRESSO] House Of Gucci (2021) | This Is The Dynasty

House Of Gucci is not “accurate”, let’s make it abundantly clear.

It’s definitely an instance where it’s important to emphatize the “inspired by real events” disclaimer, because this isn’t “All The Money In The World” Ridley Scott, this is him going full soap/telenovelas on the real life Gucci family feud that started in the 70s and culminated in 1995, with Patrizia Reggiani ordering the assassination of Maurizio Gucci, her husband and also the entrepreneur & president of the Gucci fashion firm.

The story here is presented with the focus on Patrizia introducing herself to Maurizio as a way to get into the Gucci family business, then manipulating and orchestrating the Guccis to turn against each other in order to force the hand of Maurizio in taking rein of the company, despite him starting out as totally indifferent to his heritage and without any true ambition to get involved in it.

She basically turn what start out as fairly decent people into monsters for her own ambition and ruthless desire for dominance, and at one point a tarot card reader is involved, etc.

This is a 2 hour soap opera with a huge movie budget, make no mistake about it, that it’s the main tone of House Of Gucci, as a bombast story about the rise and fall of a dynasty (pun not intended but fitting nonetheless), with very little interest in realism, given the odd – and i feel deliberate – direction some of the cast was given, as some actors feel like they’re acting in a completely different movie, like an unrecognizable Jared Leto in overacting overdrive as “Gucci’s Fethry Duck”.

Despite the sometimes inconsistent tone and it being really trashy, there’s a magnetic kitsch charm to it all, great performances, and it’s massively entertaining all the way through.