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Babylon (2022)
You like the style, you love it; if not, well...
It's genuinely hard to judge this movie, as I have mixed feelings about it all. I really loved the main idea and the characters, well built, touching and rich in deep details. The scenografies, spaces and in general the depiction of 1920s Hollywood is astonishing, truly a great piece of filmmaking that praises the great cinema of the past, through its passage from the silent films to the sound. The acting as well was really top-tier: Brad Pitt, Margot Robbie and Diego Calva were perfect for the roles and delivered outstanding performances, through happy, crazy and heart-breaking scenes. Justin Hurwitz's soundtrack is beautiful and more essential than ever, spacing through different genres of music in a single 3 hours experience.
The whole symbolism and idea of the stars of Hollywood climbing the society and decaying in a few years is simply incredible and on spot.
With these premises it was not hard to have an outstanding movie, however it was the style that didn't work: you have to love this style in order to love Babylon, and for me, it wasn't so. The excesses, the feasts and the loud music were a bit too much, resulting in an unfortunate headache at the end of the movie. During the three hours these parties become heavier and heavier and in the end some parts with free violence and no reason for them were added to disturb even more the audience. I get that Chazelle's intent was to disturb the viewer, and he managed so well in doing so, but it doesn't properly fit my style.
Babylon is undeniably a bold movie that results almost perfect technically, but for my personal taste, it was a bit a wasted opportunity.
If this story had been adapted with a different style and approach I would have certainly loved it.
House of the Dragon: The Black Queen (2022)
Epic finale
The House of the Dragon finale keeps the high expectations of the promises. It concludes the first season in a perfect way with a tension that explodes in the end; the pace is correct once again; the characters are well explored. In particular in the episode it's shown the true power of CGI for this season, with a great displacement of different dragons. The atmosphere is dark and the music is strong, the interaction between characters is well done and it's shown how this episode is a mirroring of the previous one, focusing on the Black rather than the Green. The book readers also got their pleasure by hearing the names of all the allies and houses ready to take part in the war, as well as the names of the seventeen dragons in the show. The lore of the prince that was promised gets explored once more, hinting at what the Snow sequel will be about. The decisions are made, the war is afoot and the dragons are ready to dance...
House of the Dragon: The Green Council (2022)
The weakest episode so far, and not due to the ending
The Green Council is the weakest episode of the series so far, and not because of the criticized ending, that I found fitting for the character involved in the scene. The episode starts with the tension growing and never really breaking, thus keeping the spectator on the edge of the seat for a whole quarter of an hour. The end as well is perfectly built with tension, pacing and impact of characters. The problem lies in the middle section, where the directing and writing fails a bit on the intention of some characters: some actions are not explained, and the totality seems messed up. Furthermore, the character of Criston Cole has simply become annoying, he has no evolution anymore and he's just useless; he has become the first unrealistic character of the show. Also the CGI on the end was dirtied but except these flaws the episode shares the same heights of the previous ones.
House of the Dragon: The Lord of the Tides (2022)
Heart-breaking...
The Lord of the Tides is a heart-breaking episode, the best of the series thus far: every actor, showrunner, producer, and all the crew has put his heart on this project, and it can be seen by these outstanding episodes. Paddy Considine delivered an incredible performance that could make cry even the most cold-hearted person. Pace and music are on top, as well as the writing of dialogues and set designs, so simple yet telling a whole story. It's incredible how I could just watch these characters sitting at a table talking about Westeros stuff for hours and still not being bored. The best character along with King Viserys is without a doubt Aemond: since the first scene after the time skip, I noticed his magnetic eyesight and the terror that rises when he shows up. Tension and death are really well managed and nothing is wrong.
House of the Dragon: Driftmark (2022)
Outstanding piece of writing
Driftmark is up to one of the best episodes of the season thus far. Once again, the dynamics between the children are strengthened, we empathized so much with the characters that we know them to the point that an eventual death would make us all cry. The first scenes make the tension raise to a point where the spectator is completely caught into the location, that is just a small area, in which all the dynamics and relations are established. The use of the music is outstanding in this episode and some scenes relive the old Targaryen theme under a new light, generally the episode is well directed. Another outstanding piece of writing from the showrunners!
House of the Dragon: The Princess and the Queen (2022)
Super fast pace well managed
The Princess and The Queen is the beginning of the end: the time skip is strong and difficult to catch at first but well developed. Alicent and Rhaenyra, despite the time passed are still strong in their ideals and the actresses that played them really took the best from their younger counterparts. The dynamics between the sons of the princess and of the queen are setting up for great future stuff. Moreover, the Strongs are getting their positions for the wars to come, Velaryons and Hightowers are ready to battle for the Throne.
The pace is pretty fast this time, and it doesn't give enough time to the spectator to understand every aspect, name and place of the happenings. However, the whole episode is well built and the most important part is played by Larys Strong, who is becoming a central character.
House of the Dragon: We Light the Way (2022)
jaw dropping turning point
We light the way is the turning point for the first season of House of the Dragon, it's a perfect divide between the two parts of the season that marks the great changes, such as the great following time skip and planting the seeds of war. Milly Alcock and Alicent Hightower prove for a last time their great acting skills, leaving a hard work to Emma D'Arcy and Olivia Cooke in matching their charisma on screen and their impact on the public, that the two young actresses had already taken. In this episode the evolution of characters is consistent, most of all Viserys, Alicent and Criston Cole. There are a lot of deep and impactful scenes where new characters are introduced, such as Larys, Harwin and Lyonel Strong; as well as Laenor Velaryon. Corlys' and Rhaenys' chemistry is still one of the best, but the one actor that takes the scene is Matt Smith, with his charismatic and untrustworthy Daemon Targaryen. In the episode the intrigues are being forged and the parties that will support the different sides are taking shape. The final act of the episode is simply jaw dropping, for how the tension is built with different scenes that makes you wonder how the whole story is going to finish. The costumes and music at the wedding are incredible, as well as the world building of the different houses of Westeros, and in the very final part a twine between six characters is shown in a very interesting way. What's more stunning is the use of definite tracks from Ramin Djawadi in great montages that make you watch the scene with awe.
Once again the series shows that it doesn't need dragons to be great, thanks to an outstanding writing and a meticulous adaptation of the book.
House of the Dragon: King of the Narrow Sea (2022)
Another incredible, in depth, development of characters
King of the Narrow Sea is another outstanding episode, as it manages to explore, once again, all the characters in depth. The pacing is very good, and the episode never gets boring or slow, the costumes are perfect, and the acting is still on a top level, with all the actors acting at their best, it will be sad to see Milly Alcock and Emily Carey leave the cast. Viserys is seen with a different light in the episode, emerging as a strong king, Daemon is again very clever and ambiguous, and his chemistry with Rhaenyra is undeniably good. The conflict between the princess and the queen is increasing and hinting to a future war between the two. The episode shows an important theme, treated in an uncommon way: sexuality; there is a constant juxtaposition between Alicent and Rhaenyra and how they live their lives. However, unlike in Game of Thrones, in this episode the nudity scenes are not free and useless at all, they are built to enhance a character's perception or another, developing their attitudes towards the matter. They are not shown for the mere pleasure of the spectator, they are used to tell a story. Overall, the episode shows a lot of everyday life of King's Landing and uses them to teach more to the protagonists, who are often segregated in the Red Keep. The episode remains outstanding, and the problem of the dialogue seems already fixed, leading to an almost perfect development of the characters, that shows once more that this TV series doesn't need dragons to be good, as they are briefly shown in these four episodes; they are almost secondary characters, witnessing that the writing is perfect. I adore the fact that they are using the show to depict the canon version of the book Fire and Blood, as the latter often shows different versions of the same story.
House of the Dragon: Second of His Name (2022)
A flawed, yet outstanding, episode
Second of His Name is a very good third episode, yet a bit flawed. The pacing is once again on point, in one hour it shows different locations and events, slowing down on the in-depth analysis of some characters but never getting boring. The soundtrack, with the new tracks, is fitting for the themes of the characters and the costumes, scenography and locations are as masterful as they should be. The time skip is well managed and doesn't leave the spectator questioning about the new setting, this skip also forges new personalities in the character we had already known: Otto is more determined than ever; Viserys has once again found joy in his new son; Rhaenyra is a rebel who needs a new husband, although she doesn't want it, and is now in conflict with Alicent, despite the latter still tries to reconcile with her; Criston Cole has already become a favourite of the princess and Daemon must show his value. The conflict father-daughter between Viserys and Rhaenyra is stronger than ever and emotional on some points. The hunting in the Kingswood and the camp are also some devices to show new families of the Seven Kinkgdoms, such as the Lannisters and Redwynes. Then we also get to know new characters such as Vaemond and Laenor Velaryon and the whole plot climaxes in an outstanding and unpredictable ending, able to break the previous schemes of Game of Thrones. The episode is focused on the politics and intrigues, in order to set up the future conflicts and the ambiences show the common life of the hypocrite nobles of Westeros; yet some action-packed sequences are shown and are able to balance the rhythm. Furthermore, Second of His Name, is rich with symbolism, as there are many hints at symbolic values and future happenings in the series.
On the downsides in this episode, I found some flaws in the dialogue and structure: the former is a bit repetitive and, after some time, becomes slightly annoying; in this third part of the first season, we have a recurring structure: if the first episode was focused on the King's succession, the second on the new wife, the third one evolves around the duty of Rhaenyra's new husband, thus leading to a repetitive dialogue on this matter. At the fourth or fifth time that we hear about her rebellious attitude, her will against the king or the fact that she needs a new husband, the dialogues seem heavy. Furthermore, the CGI of the dragons seems improved, however the animals are a bit clunky in movements and emerge as not so real. However, except these two flaws and a bit of plot armour in the end, the episode is perfect: if the problem of the dialogues gets figured out in the following episodes, we might reach a level of perfection.
House of the Dragon: The Rogue Prince (2022)
A very good transition episode
The second episode is a transition episode with a very good pacing once again. As in the first episode, we get presented with a new problem arising and the episode culminates in the decision regarding this very problem. The opening was great and the choice to leave the original Main Titles is on spot, nothing could have been done better so they decided to keep it the old way. The actors are great in all scenes, particularly Milly Alcock and Paddy Considine, who are able to show the whole pack of emotions that their characters require. The CGI of Caraxes seems still a bit rough compared to Syrax's one, however the fact that the dragons are not overused, and yet the story is so engaging, implies that the writing for the series is on a top-notch level. Compared to the first one, it wasn't much of a banger, as The Heirs of the Dragon was more impactful due to Game of Thrones' absence for three years. However, this episode explores even more the characters and sets the base for the following episodes once again. The dialogues are witty, like the first seasons of Game of Thrones, and the costumes are always on the spot. The Dragonstone and Small Council scenes are the best ones as, despite the outcome being known, are still built with a directing that makes the tension grow.
House of the Dragon: The Heirs of the Dragon (2022)
A perfect pilot
I think that this is a perfect pilot, as it manages to reintroduce the spectator in a world we have already seen in a completely different way and time setting. During the episode a lot of references to the main series and a lot of differences underline the periods in which the story is set. Incredible shots in directing are able to show the details, as well as the open spaces, the dragon look different one from each other and the CGI, although not perfect, seems on point; except for Caraxes that seems a light puppet rather than a heavy dragon. The cruelty and rawness of Game of Thrones are back and are able to make the spectator feel sick very soon; no dialogue is ever wasted; every line is important for the plot and for the characterisation of the characters. The central sequence of the jousting and the childbirth is simply outstanding: the montage is on point and makes the tension increase to the point that the spectator is feeling empathy and hype for a simple tournament. The acting is also on point and shows already some dramatic moments for some characters; some of them, Alicent most of all are well developed already in the first hour of the series. Daemon is surely intriguing, as it's the classic evil character, yet with a soul and a deep care for her niece. The highest points are reached with a great soundtrack: Ramin Djawadi knocks it out of the park and overcomes himself of the previous series, echoing to the old tracks with a completely new vibe. The last five minutes are simply outstanding: the music mixed with the perfect montage and the emotional damage, with the introduction to an extremely important prophecy, are absolutely thrilling.
In general, the pacing is perfect: in one hour the pilot shows the most important character, giving some thickness to their personality, showing the matter of the series, and leaving the spectator to desire a new episode as soon as possible. An hour passes as it were three, but never gets boring or repetitive, everything is fitting, and it establishes a perfect beginning for a ten episodes first season.
Dune (2021)
A cinematic masterpiece
Dune is, hands down, one of the best sci-fi movies of the last decade: it has all the characteristics requested for a blockbuster of this size and it's finally accurate to Herbert's books. Villeneuve manages to create a masterpiece of greatness, he makes the viewer immerse into the world of Dune and keep him focused on the movie, without being bored a single time in a 2 and a half hour experience. The set designs, the landscapes and the ahead of its time, but at the same time ancient, technology created by Herbert are created on the big screen in a perfect way.
The photography is almost monochromatic and yet it has a high impact on the viewer because it creates the perfect atmosphere for a dark, austere and colossal movie. The plot and storylines are studied in depth and the characters, although having a short introduction, manage to make through the heart of the viewer. Dune is not filled with useless and boring explanations because it drops, in different parts of the movie, the fragments of aspects of the entire Dune cycle's world. The spectator is then pushed to discover all these particulars by being focused on what they are watching, because this movie is not to be taken lightly.
The cast is phenomenal although the acting is not the main point of the movie, as it happens in most of choral narrations; the only performance that stands out above the average is Rebecca Ferguson's one.
In addition to these aspects, the soundtrack is top level, as Hans Zimmer is usual to reach it; the different tracks mix the orchestra with feminine choral voices that reflect the tribal atmosphere of the Fremens on Arrakis.
This work is the mix of all the perfect aspects of The Lord of The Rings, Star Wars and A Song of Ice and Fire (aka Game of Thrones). This is due to the fact that a lot of fantasy authors took inspiration from Herbert's works, just look at the similarities between House Atreides from Dune and House Stark from Game of Thrones.
Tenet (2020)
A very good movie, a failure for Nolan
This movie is a very well built story, however, if we compare it to the other Christopher Nolan's movies, it emerges as one of the worst. Tenet has a different feeling from the others: although the plot seems very intricate and difficult to understand, the real problem lies in the characters: the evolution of some of these is non existing and so they result flat and boring throughout the movie. The only relationship that can be found is the one between Andrei and his wife Kat, however it's not interesting because it wasn't given enough depth. In Interstellar we have the father-daughter realtionship between Cooper and Murph; in Inception we have the husband-wife deal between Cobb and Mal and in The Prestige we have the rivalry between Borden, Angier and the love for their wives. Also the acting was not on a "Nolan level" this time: Kenneth Branagh seems unnatural in most of his anger scenes and the actors didn't have to deliver strong performance moments, such as in Interstellar and Inception. Furthermore, in all Nolan's movies there has always been a strong female character, since Memento; but in Tenet Kat's character is rough and not explored in depth. Keeping out the characters, Tenet is a brilliant movie with the incredible idea of time inversion and it's spectacular regarding the special effects on the big screen; Göransson's soundtrack is also always on point.
In conclusion I feel that this is a really great movie but a failure for Christopher Nolan because it fails in the aspects that made this director strong: the characters, and not only the complicated and impossible to understand plots. Just remember how he could turn a well known character such as Batman in an incredible, never told, story.
Black Widow (2021)
A solid Marvel movie
Black Widow brings MCU back in theatres after two years and it perfectly catches the spirit of Marvel. It's a solid movie with great characters and good chemistry between them, the acting is also great, with a Florence Pugh completely.in the part and a good Scarlett Johansson. The action sequences are great, intense and keep the viewer focused; also the costumes are great. Natasha's backstory is well built and the whole development of her character is very emotional, a not so frequent aspect in MCU.
However the movie has some flaws, such as the villain, as often happens in MCU, it's stereotyped; and Taskmaster is a weak character.
Nevertheless it's a great marvel movie, in my opinion a lot better than Captain Marvel and Black Panther's stand alones.
Breaking Bad (2008)
Almost perfect
If i could give a different mark it would be 9.5; this series is really close to perfection. The only doubt I had was about the first two seasons, in these two the rhythm was a bit slow in certain episodes. By the way the casting is perfect, acting too, the plot is never boring and the character development is outstanding. Definitely the best tv series of 21st century if not the best show ever.