Cinema'n More

28 Years Later: The Bone Tample (2026) Holy fucking shit, this is how you make a goddamn sequel. I had hated Danny Boyle’s “28 Years Later” under so many aspects. For the forced, overly mannered direction. For the cinematography shot with the iPhone 15 Pro, but also with insanely expensive anamorphic lenses that made the budget skyrocket. For a story written like ass and a staging (both CGI and directing choices) that was genuinely questionable.  Here…here we’re witnessing the return of Christ, or rather, the Devil himself. The story picks up shortly after the end of the previous film, but you can immediately feel a huge difference and a completely different “texture”.  They actually use a proper cinematic photographic setup, not some mid-20th-century Berlin experimental piece like Boyle did for absolutely no fucking reason. Here the image is pure Cinema, and so is the story. Alex Garland comes back to his senses and writes a brutal, insanely violent (sometimes even too much) ...

One Battle After Another (2025) Finally back on the blog and I’m doing it with a bang, finally managing to find the time to review this PTA film, seen several months ago by now! People online, right after its release, wouldn’t talk about anything else and kept praising this title, calling it Paul’s “Citizen Kane”, which pissed me off because everyone knows that the real crown jewel of the director is “Phantom Thread”. But whatever, people always have to exaggerate. Curious, I go to Melzo and watch it in 70 mm. I was curious, yes, but only up to a point. Anderson is notoriously a total genius as well as one of the best American directors of all time, so why be so surprised. Another great film was the bare minimum I expected. Well then, what to say after seeing it: I was happy, very, very, a lot, quite a bit, but with some clarifications and some small doubts that are anything but negligible. It really is a great film. Well packaged and well presented to the audience. However, among the ...

    28 Days Later (2025) The trailer for this film fooled everyone a little, but I think I'm among the MOST disappointed of all. This is truly ass.
Not only is it a joke, but personally, it's a poorly executed joke. $60 million to make a movie with an iPhone, which, look closely, you can tell from a mile away was made with an iPhone. The premise was pretty cool, and from the first chaotic minutes, it seemed like everything was going well, but then the film really got going, and what I found myself facing shocked me. Terrible production, banal direction, and rather dated stylistic choices. Often, shots were out of focus, or the camera movements were shaky, or the cinematography was "not cinematic," rather homemade. I was still giving the whole thing the benefit of the doubt.  This benefit was lost in the "return to the village" sequence, where elementary-school CGI, coupled with crappy, overly-maneuverable direction (with those fucking Northern Lights that yo...

  Mission: Impossible - The Final Reckoning  (2025) I have always been a fan of Tom, and consequently also of the Mission Impossible saga, dear to the actor for more than 20 years. Despite this, I have to admit that I have not seen every single film. I am sure as hell that I have seen the last 4 or 5 and the 3 most recent ones (counting this), so Fallout and Dead Reckoning I saw them all in the theater. And yet, it was the first time that I went to the cinema not perfectly "aware" and prepared for the idea that it was the last film of such an important and long-lasting saga. I enter the theater, also with my grandmother who is a mega fan of Tom (I must have taken after her) and what passes before my eyes over the course of 2 hours and 50 minutes is a breathtaking blockbuster that perfectly closes a legendary saga. I have read many criticisms online, mostly born from the open ending that many say is "not very satisfactory" or from some choices in the script that made...

      The Brutalist (2024) I've been in bed for a week with a fever of 39, and this is definitely one of the things I've thought about most often. I'm finally recovering and I can once again invest my energy in something other than "surviving". Being able to write something about this film won't be easy, but I'll try to clarify a couple of thoughts that came to mind. Just calling it a film is quite reductive. Yes, because what I saw in Milan in the glorious 70 mm format, in the original language, goes far beyond the stylistic features of the classic film. Here we are faced with something else... here, we are faced with Cinema with a capital  C , in bold and underlined, damn it. A Cinema that has been missing for too long now. I don't think I've seen something of this level for a very long time, several years perhaps, and despite my expectations being high, I never would have believed that they could be swept away so easily. I'll say it clearly ...

    Nosferatu (2024) Ok, I think it's 2025 and a new year means new reviews and new movies. In particular for this brand new movie I think I'll go on a bit, so I warn you already, it will be quite saturated with information and boring, but it doesn't matter after all. I write for myself, to think about what I saw and maybe have the opportunity during this flow of thoughts to understand or grasp things that I missed during the vision. Needless to say, I was waiting for this movie like few things in this world: as much as I have always recognized the grandeur of the 1922 film, avant-garde in German expressionism, never before has this story become so important to me. The reason is among the simplest ever, namely Robert Eggers: with every cell of my body I love this asshole incapable of making mistakes. I think he is one of the best directors not only of recent years, but of the entire history of cinema. One of those authors who is not only able to tell incredible stories but ...