L'univers littéraire de Roald Dahl est excentrique, plein d'humour et souvent malicieux ; l'univers cinématographique de Wes Anderson lui correspond donc parfaitement.
Posts tagged as “movie review”
The literary world of Roald Dahl is eccentric, humorous and often mischievous; naturally, the cinematic universe of Wes Anderson is its perfect match. Yes, Anderson’s latest Dahl adaptation, “The Wonderful Story of Henry Sugar” (Netflix, 2023), is every bit as charming as his last, “The Fantastic Mr. Fox” (2009). Despite a seemingly never-ending influx of movie adaptations, Anderson claims “The Wonderful Story of Henry Sugar” as his own by combining his eccentric aesthetic and Dahl’s authorial wisdom in this 41-minute short.
It isn’t cannibalism for the sake of cannibalism, nor is it romance for the sake of romance — Luca Guadagnino’s “Bones And All” (2022) bleeds…
An intriguing plot, a promising cast, Olivia Wilde’s direction — the setup is all there, but Don’t Worry Darling (2022) gets too caught up in…
In an age of increasingly sensationalized content, the media takes advantage of women’s stories more often than not. As of late, the film industry has…
This post is part of the 2021 Spring Translations Marathon for student translators
Translated from English by Josephine Van Renterghem
L’anno è il 1939 nel Regno d’Italia. Guido Orefice (interpretato da Roberto Benigni) è arrivato da poco in città per lavorare in un ristorante con suo zio. Appena arrivato, Guido si innamora di Dora (interpretata da Nicoletta Braschi), una donna che è già fidanzata con u ricco ma arrogante funzionario fascista. Grazie al suo umorismo e alla sua arguzia, Guido è capace di organizzare molti incontri « casuali » per mostrarle il suo interesse per lei. Dopo imbucarsi alla festa di Dora e aver umiliato sua madre e il suo fidanzato, Guida riesce a sedurla con il suo carisma. Poco dopo si sposano e hanno un figlio, chiamato Giosuè (interpretato da Giorgio Cantarini).
In Chinese and Vietnamese Buddhism, a “hungry ghost” is a species of spirit driven by a need that went unfulfilled in mortal life. Karmically condemned…
“Suspiria” is bad. “Suspiria” is a mess. “Suspiria” is a movie set in 1977 Berlin that’s about both a psychotherapist mourning his wife and about an American Mennonite girl who gets admitted into a prestigious dance academy that turns out to run by a coven of witches. “Suspiria” tries to do many things and does none of them well. But this and its other technical problems are the least of its flaws. In fact its greatest flaw — no, its greatest sin — lies in what it tries to seem like it’s saying and what it instead is actually saying.
“You can do anything with my legacy, but never make me boring.” The legendary singer and frontman of Queen, Freddie Mercury, was quoted as saying this before his tragic death from AIDS-related causes in 1991. This writer believes that even the most aggressive attempt to make Freddie Mercury’s story boring would be impossible. “Bohemian Rhapsody” — a biographical movie about Queen — is entertaining, but beneath its flashy surface, it is as hollow and clichéd as Mercury was complex and revolutionary. The film’s fun yet disappointing result can be attributed to a number of factors: pre-production limbo, cast changes, director replacements and questionable narrative choices regarding the singer’s sexuality. All of this culminates in an ultimately forgettable movie. But this movie is about Freddie Mercury — how is that possible?
The beginning of “mid90s” is comprised of sudden images cut together. Skateboards, still on the ground, are scattered with a force. A hallway where an older brother pounces on the younger one, pelting him with his fists. And the younger brother — the thirteen year-old boy we will come to know as Stevie — looks in the mirror and pokes at his bruised chest, then punches it, groaning with the pain.