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Future Present Past review

Posted : 4 months, 3 weeks ago on 5 June 2016 03:02 (A review of Future Present Past)

Not that this EP will follow to disk in force, having the Strokes complied with their contractual obligations with RCA with "Comedown machine" of 2013. In fact, it is said that Julian Casablancas and company are willing to make another record , busy as they are in their own solo projects. But consider this "Future present past" as an encouraging signal given from a listless team always pretty, even as listless as to border - sometimes - the antipathy: except for the remix edited by drummer Fabrizio Moretti (pleasant but all but essential ) the three unpublished included in the new EP of former indie darlings photographing a group all in all in good shape, able to capitalize on the experience gained in almost twenty years to highlight your own strengths and well camouflage the own shortcomings.

Post punk revivalist "Drag Queen", at the beginning, is deceptive: the verse of "Oblivius", screwed on a complex weaving guitar, turns into a chorus where the impact of Casablancas's voice is supported by a wall of synths and guitars. "Threat of Joy" will appeal to longtime fans, the ones who in their playlist still do not miss "Last nite" or "Someday", with guitars running the show on a beat just more complex than those produced by Moretti to "Is this it time?". While many wonder if the Strokes are back or not, the most cautious fans keep their fingers crossed: more than the story now lisa sull'hype early career and stepmother Mother press that first door on your hand and then ditching in After a couple of seasons, to the loss of enamel Casablancas and company has been some resistance to spontaneity - even sacrosanct, in some ways, because the daughter of the desire to free themselves from an image and a role that now went tight unbearably . So let us hope that in the coming months to our not occur between the soundtracks feet, DJs, installations, collections fall winter or impromptu collaborations and who knows: no performance anxiety and eyes on him the whole world, the Strokes may still give us some surprise.
drag queen
Threat of Joy
OBLIVIUS (Moretti Remix)

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On Air: Storia di un Successo review

Posted : 6 months, 3 weeks ago on 4 April 2016 05:28 (A review of On Air: Storia di un Successo)

It is not Lone Wolf or The early bird catches the worm. On-Air Success Story is a movie, but at the same time a game. It is a story, but also a stream of consciousness. It is a work for use and consumption of the fan and at the same time the best way to learn about the phenomenon that is Marco Mazzoli. Phenomenon because one who makes those plays is. Phenomenon because the landlord of the 105 Zoo is one to study because no one like him: if it is true that Stern is the beautiful radio boss, dirty and bad, Mazzoli it is the Italian, who has made a cialtrocazzonismo 'art, of total freedom a totem, the craziness, the surreal, the chaotic but organized madness, a winning mix. Phenomenon, finally, because "the DJs who do not like" can give it to drink at all with that smile and jokes that would have you believe that yes, he is one of the road suddenly and said a big ass. One that goes from Noise, trade winds and Wender in Maccio Capatonda, Herbert Ballerina and Ivo Greedy, and stays there at the top (in fact, is even better) and then the other if takes them as well, it is not any one. Has such a natural, innate, unique. But also an ability to develop, write, think, change, control, manipulate (the public, the radio storytelling - just think of the jokes and the Situationist closures of the Zoo, the lists of enemies ever drafted, the time machine), outside the ordinary. Mazzoli, for this writer, is a genius. One of those in the audience for two-thirds has admirers who consider it one of the family and one third detractors who listen to him with a disarming consistency "to see where it will come." And he cares: the vestal virgins who would like more mazzoliano Mazzoli, the hater who expect to shoot against the excesses (and perhaps force him to pause for a month or two).
On air-success story is not a biography. Are the first 40 odd years of a guy who has done it, who has the head too American - Blessed was Walt Disney who gave the dad and the family the opportunity to broaden our horizons - to be hindering from the misery of ' eternal Italian province, and that has set limits. With the radio, with life, with women, with the leaders, with friends. And with the cinema, because few in his place would have put his face, to play themselves, as deus ex machina.
About, it must be said, of David Simon Mazzoli. Who wrote with him Radiography of a DJ who does not like it, do not listen to the Zoo (writer yes, even during class university too many years ago), who decided immediately not to hide behind an apologetic biographical documentary or classic biopic. Animation, funny scenes, deconstruction of the script and the language of cinema, suspension of credulity, it allows more or less all of this young filmmaker who, like his cousin, does not like limits. The work has a naive trend but at the same time able to hold together the various souls, painting a portrait fragile, sweet, histrionic, fickle of a man who has never allowed anyone to stop him. Bravo Giulio Greek to interpret the Marco ride to success, as well as Dario Eros Tacconelli to play the ghost writer a little 'penniless and a little' snob who has to carry through the biography. He lived and fictionalized reality come together, telling sincerely those who have always had a dream, carried it out, and now he lives great. forgets nothing Mazzoli, but more than the betrayal of the past looks to future challenges. And the director sowing fun, entertainment, but also dramatic moments: the scene of Judas (indeed of St. Peter, or almost: "three of them will betray me"), the second before the first featuring the new team, a lunch with elderly mother (a Chiara Francini that carves out a sweet role and means certain, with the comic brilliance put aside in favor of a few well-placed melancholy) brushstrokes that says a lot of the DJs fragility, without having to explain. The cast of big names - Marzocca, Tognazzi, Giannini - is played well, to embody the inevitable stereotypes (the mentor, the boastful publisher, the bastard manager and bigoted) a bit 'gigioneggiando and a little' putting the craft. And so, like the Zoo, you find yourself in front of a striking work, never classical, deliberately discontinuous, folk and choral, with Mazzoli showman, but able to give way to his many cronies.
It comes almost as bad to wish him good Marco. Because his is a fairy tale, in this country that now has a few of wonders. Because he has done it. Because if people like me still chasing a dream (to make radio like him, and maybe with him, among others), they owe it to people like him. To whom does not give up. Who falls, to rise. And win. And maybe because everything is going great, it rushes. To remember what it tastes like dust. Who never says yes when it suits them, but only when he goes.

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Chaosmosis review

Posted : 6 months, 3 weeks ago on 2 April 2016 08:04 (A review of Chaosmosis)

Eleventh album. Of water has passed under the bridge since that "Screamadelica" who devoted 25 years ago Primal Scream Bobby Gillespie to commercial success, with a bewitching blend of dance, rock, house, dub, neo-psychedelia. Practically a revelation for many, looking for exciting news. But in addition to water are also passed several incarnations of the band's sound, which in the meantime has explored and expanded its horizons, changing direction several times - now with remarkable results, now less restrictive.

This new "Chaosmosis" represents another step in this path of research chameleon, creating an album that in some ways can call the attitude of "Screamadelica" for the brightness, the sound approach lightness and contemporary pop. But Gillespie & Company have tried as much as possible to avoid the citation of the proven, assembling - in fact - this album with an eye to what is happening around them, and not surprisingly they called to their court, as guests and collaborators , even Haim and Sky Ferreira - two realities that, like it or not, represent a cross section of what is pop "new school" of the twenty-first century.

"Chaosmosis" at first listen it sounds like a light cocktail, of those who slurp with pleasure to start an evening set to grow: catchy melodies, atmospheres never oppressive or anxiety-provoking, the nail polish and a patinatissima moods, rock / psychedelic suggestions reduced to minimum, almost impalpable. All this, however, made and shaped with the typical class that Gillespie has demonstrated how innate gift - and that allows him to roam like a chameleon in many different musical worlds (from protopunk stoogesiano of the beginnings, through the dance rock, neo-psychedelia, pop, southern rock, Madchester sound ...). And the first two thirds of the album are a great poster that celebrates this special ability, suggesting a never banal version, or plastic / homogenized to use of the market, what the definition of pop can evoke in 2016.

The problem is that it is the end of the brief and tense "When the blackout meets the fallout" something seems to crack. A trick far too sugary and easygoing as "Carnival of Fools" casts a shadow on what is heard good up to that point and precipitates the band in limbo electropop from fast food, stuff that they will Primal Scream, nor have they We wanted to be (we hope). "Golden rope" instead it is a good bit more rock, stonesiano aftertaste or the "Give ut but do not give up", but in the economy of the disc does not particularly make sense. Not to mention the closure of "Autumn in Paradise", pimp, condescending and very Nineties, perhaps even potentially a commercial success, but little relation to the spirit of the record.
Trippin 'On Your Love
(Feeling like a) demon again
I can change
100% or nothing
private wars
Where the light gets in
When the blackout meets the fallout
Carnival of Fools
Golden rope
Autumn in paradise

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Everything You've Come To Expect review

Posted : 6 months, 3 weeks ago on 2 April 2016 07:57 (A review of Everything You've Come To Expect)

Years pass, but eight are long - said Adriano Celentano around the middle of the fabulous' 60s. It's been just eight years from the moment Alex Turner and Miles Kane have recorded the first record together as The Last Shadow Puppets. An eternity for a band, a period quite acceptable when you consider that the Puppets are a side / super group formed by the leaders of Arctic Monkeys and Rascals, with the producer / drummer James Ford (half of Simian Mobile Disco) and bassist Zachary Dawes.

last-shadow-puppets everythingNonostante has just pointed out that we are dealing with a side project, the statement of the boy of the street Gluck expresses a concept incontrovertible: 8 years are actually long. Many things can happen, especially when at stake is the fateful transition from "entities" to "enta". There you can transfer to Los Angeles continuing to churn out discs of great value with the Arctic Monkeys (in the case of Alex Turner), or you can decide to leave the Rascals and pursue a solo career, working in the meantime also on its image (here talking playboy Miles Kane). Finally can (legitimately) to change some musical references.

The Age Of The Understatement slamming it appeared on the cover a picture in black and white taken from a photo shoot in 1962; very appropriate, considering that the (beautiful) disc with both hands fished from the imaginary baroque pop of that era there. On the cover of the new Everything You've Come to Expect towers instead a young Tina Turner dancing in a photograph taken in 1969. It might seem overwhelming to search metaphors at all costs, but the statements of Kane (who has publicly expressed the infatuation Isaac Hayes and the Style Council) reinforce the idea that the setting for the '60s pop is no longer so radical. The starting point remains the same, but there's been an evolution: now the band's vision is broader and takes into account stylistic perspectives that engage in other historical periods (in this case 70).

Here it is explained the harpsichord that sticks in the psychedelic title track, the intention funk that you do not expect of The Element Of Surprise, the garage punk vein (rosewater) of Bad Habits and the triumphal march (with a rhythmic which follows that of the Bolero by Ravel) Sweet Dreams, Tn. Alongside these songs that explore - albeit partially - new ways, there are also tracks like Miracle Aligner, Dracula Teeth and Used To Be My Girl, which reassure the listener remaining in territories already sifted previously.

At best experiments shine (see Sweet Dreams, Tn and Everything You've Come To Expect), at worst simply "work" (in this regard nothing I taken down by the thought that the single Bad Habits would be half without 'string arrangement by the very talented Owen Pallet, a key component for the sound aesthetics of Puppets). On the other hand the talented Alex Turner has never been questioned. It is rather the harmony of the couple that raises some doubts: you feel a palpable gap between the two talking heads, which today give the impression of being two (valid) polar opposites that interact, whereas in the first record their personalities seemed to merge with more naturally.

The inevitable confrontation with The Age Of The Understatement then leaves little doubt: the debut sounded fresher and seemed more convinced of the new work. There was a different energy, and perhaps (but this is my personal view) more concentration. It also had to do with other thick texts, and the desire to offer a tribute to a precise historical period reinforced the Turner and Kane merits. This does not mean that Everything You've Come To Expect an album is to be avoided, indeed (for avercene, final as The Dream Synopsis): simply bow to (presumably high) expectations of those who waited eight long years to hear that that - taking a cue from the title of the album, which sounds like an invitation - may on balance be considered a promise not completely maintained or a redundant confirmation. Nothing less, nothing more.

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Posted : 7 months ago on 23 March 2016 07:59 (A review of Batman v Superman: Dawn of Justice)

I want be frank and direct from the outset: Batman v Superman I did not like. Dear super nerd, eminent superhero movie fans, estimated blockbuster lovers based fisticuffs, I mourn to that the expected hyper mega blockbuster involving in an epic clash of the two most popular superheroes of all time is a failed film ( to be good). You want some evidence in support of my thesis ? Here are some things that do not work in the Zack Snyder film for my opinion:
Zack Snyder is a director who with comic books and graphic novels has always worked. We think of 300 and Watchmen (thumb up, beautiful both), but also in The Man of Steel (thumbs down). It was to be expected, if not the depth of Christopher Nolan's Batman trilogy, at least a convincing story. Nothing like that. The screenplay by Chris Terrio and David Goyer embarks more water than the Titanic. least questionable narrative developments, secondary characters to the embarrassing limit (Amy Adams forgive us, we like you very much, but your Lois Lane is unnerving), dreamlike inserts incomprehensible. We do not go down into the details to avoid shooting on the Red Cross.
Let's be frank: it was not easy to find a way to live together in a film noir soul and the Gothic Batman with sci-fi flavor and Superman star. And above all find the "casus belli" to make them fight. True, the scenes of conflict between the two work very well visually, but everything can not be conditioned by reasons of the engagement that, come on, are very very weak. In fumettografia comics of clashes between the two top of the DC Comics superheroes there have been many but the premises were always a little more convincing.
Do not worry, I will not disclose anything about the plot and we will not tell you what happens or does not happen. But know that the prevedibilissima reconciliation between the two impromptu enemies (mica you thought the Bat Man and the Man of Steel if would be given a thrashing to the end, right?) is even less convincing than the mutual declaration of war. Thus, in the space of a second pass from groped to kill himself to loving to madness....
The feeling seeing Batman v Superman is that the two loved superheroes are easily manipulated. A newspaper headline, an image on television, the testimony of a criminal, the ravings of a mad murderess than enough to convince them that the other is a villain to be killed or otherwise a friend to help. Not to mention the crowds. That may be true, unfortunately, but looking at the Snyder film really seems that 99% of the world population is made of sheep ready to idolize or wanting to set fire to someone, depending on how the wind blows. Other than black and white, here we are right in one color. Let's say that the complexity and depth of characters such as, there we throw a random example, the Joker by Heath Ledger is only a distant memory.
Batman is a character that moves at ease in the dark and have pretty shady sides know for some time. And even here it starts well with a first appearance of Ben Affleck in the role of Man Bat scream. But then in the course of the film exceeds a tantinello. Steps for the brand on the faces of criminals but with pistols, rifles, machine guns and so on and so forth you overdo it too much. Bruce Wayne's not the Punisher ...
The film begins with yet another murder and redundant version of Bruce Wayne's parents. It means that the gravitational center of the story is Batman? Needless to dream. Gotham is a virtually non-existent presence in the economy of a film that has its center positioned entirely in Metropolis. Even sidekicks and rivals are part of Superman universe and then is almost wonder that c'azzecchi Batman in everything. Very little.
The villain of the film is a hair Lex Luthor played by Jesse Eisenberg loaded like a spring (perhaps a little too much). Forget the characterizations "top" of other super-villains such as The Joker, Doctor Octopus and Kingpin. Here we are faced with a billionaire boy very agitated over the top that tries to take the language in the loan, and even the grimaces, the Joker. Failed mission.
Given the posters, there will ruin the surprise by telling you that in the film peeps even Wonder Woman, who takes part in the final charade without a real reason. That is, to be sure the motivation is there but it is not fiction: it simply introduces the next arrival of the Justice League, the superhero team that is the response of the DC Comics to Marvel Avengers. Let's say for the team of the House of Ideas had come across in a somewhat 'more natural.
Always the DC Comics is more "mature" and "adult" than the Marvel. If Iron Man, Hulk, Thor and company calzamaglieggiante evil that goes laughs or smiles (we think only the Guardians of the Galaxy or Deadpool), superheroes like Batman and Superman are devoid of the humor and lightness. Mica a defect whatever, for heaven's sake. The problem is that with such characters you can center the masterpiece (as done by Nolan with his Dark Knight), or is likely to become heavy in a strand (the superhero) now overpopulated. Here, here it is all too heavy and for most "heavy."
It contributes to the general heaviness and not just the playing time more than high. Two and a half hours are likely to be too many, especially if the narrative is left aside and you play all the chips on the technical and visual. Good fights, but after two hours of fistfights real risk is the saturation. Dear Batman and Superman expensive, not always two is better than one.

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On review

Posted : 7 months ago on 23 March 2016 07:47 (A review of On)

That kitten on the cover, is not there for so long. Have you ever tried to tease a kitten to play with? The cat is a sweet animal, but when he wants to know, becoming a small tiger: "It 'a creature simply alive, strong in his weakness, able to arouse emotion in all of us pure, direct, authentic," said Elisa commenting the cover of her new album. The songs on "ON", the ninth studio album by the singer of Monfalcone, are like this: apparently docile and tame, but within a few seconds will reveal impetuous and engaging.

The disc arrives in about two and a half years after the previous "The soul flies", an album that had seen Elisa try for the first time in almost twenty years of career with a repertoire all Italian; with "ON", the singer returns to sing in English: only two of the 13 tracks on this record are indeed sung in Italian. All songs were written by the same Elisa, who sometimes availed of the collaboration of some international authors such as Keely Bumford, D. Allan Rich and Jud Friedman, creators for Whitney Houston, Ray Charles, Barbra Streisand and Giorgia. The only exception is "Waste your time on me", written by Jack Savoretti along with Pedro Vito Sebastian and Sternberg. The album was produced by Curt Schneider, in 2014 in the band as bassist and songwriter for the first time in the control room for a hard Elisa: the processes were held, on several occasions, between autumn 2014, the summer of 2015 and the autumn of 2015, including Slovenia, Povegliano Veronese, Los Angeles, Gorizia and New York. A small team of musicians has joined Elisa during the recording: the keyboards are Christian Rigano, to Andrea Rigonat guitars, bass and programming the same Curt Schneider, with drum machines and percussion Victor Indrizzo.

A sound level, the disc marks a break with previous productions of the songwriter: less guitar and drums, more keyboards, programming, synthesizers and drum machines. What characterizes a good part of these new songs is a taste for electronic music, declined in different forms: there are the power ballad style Both ( "Bad habits" and in part "No Hero"), in which pieces 'electronic lives with more acoustic sounds ( "Wast your time on me", with a cameo author Jack Savoretti; and "I smile now," engraved on the other hand with friends Giuliano Sangiorgi and Emma), hints of trip hop and drum' n ' 'bass ( "With the hurt", "Burn for you" - between the influences of the disc, as explained by Elisa in our interview, there are Diplo and Skrillex) and a couple of episodes dance pop reminiscent of the hit American pop star of 2000s ( "Ready Now" and "Rain over my head"). Alongside these we find a piece chain in electronics raids in Motown style as "Love me forever" (with a rhythm borrowed from "Footloose" by Kenny Loggins: Elisa had written this song at age fourteen, twenty five years ago), a song from the arrangement most piano like "Love is kinda war", a song dressed in soul sauce as "Hold on for a minute" (a hollow introduction that recalls Adele and more solar chorus) and a hyper-funky as "Peter pan "(a legacy of collaboration with Kolors last year). The Elisa of the very first album "Pipes & flowers", "Asile's World" and "Then Comes the Sun" peeps "Catch the light", with a thin, dry arrangement, all electric guitar and drums.

"ON" is an album that you listen willingly, without tiring. They are energetic songs and dancing, as the same title suggests, playing on the surprise: they start in a certain way and then come to take unexpected directions. Not only at the level of sound, but also to the musical structure level, thanks to a series of expedients, of all sudden jumps of octaves. The more athletic piece of the album is "Burning for You", written while participating in Friends of last year: a blast playing and stunning implosion, which leaves not indifferent listener.

To speak of a real artistic turning point is early: it would be more correct to say that "ON" could mark the starting point for a new and interesting phase of Elisa's career, that with these songs appears more extroverted version and "popular "than in the past, as she herself admitted. And 'an impetuous and physical disk that, for breaking offering, could turn up their nose to fans of the first hour of Elisa: it's an album far cry from the first productions of the singer. And 'pop, true, but it is in the best sense of the term: a nice mix in which all live together (best) facets of the music of the last fifty years, from Motown to electronics of 2000 through funk 70s , the dance pop of the 80s and 90s.

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You & I review

Posted : 7 months, 3 weeks ago on 6 March 2016 05:47 (A review of You & I)

The history of the origins of Jeff Buckley is shrouded in mythology, a bit 'like the character. His "Hallelujah" is a song from a thousand lives and continues to attract periodically several generations of listeners - indeed it would be good there was a moratorium on other cover of that song, which is constantly repeated, as if anyone could add something to the immortal version son Tim. But Buckley were really not understood until it was alive. The Buckley mythology is largely posthumous.

The facts, however, say that his beginnings were complicated; that beginning was also difficult not to allow a full understanding of who he was and how good he was, between '93 and '97, the year of his death. The release of "You and I", in stores March 11 is not just another posthumous publication. It 'a piece of those origins - and a good record regardless.

As noted, "You and I", is a collection of eight covers and two original songs recorded at the Shelter Island Sound Study of Steve Addabbo in February 1993 and recently discovered.
Buckley in '92 he started playing at Sin-é, a small Irish cafe in New York (he had brought his friend Glen Hansard, at that time famous for her role in "The Committents" by Alan Parker, but this it is another story). The record companies noticed him and made to queue to listen to it and put it under contract. Eventually, in October of '92, he signed to Columbia, and was taken under the wing of Steve Berkowitz.

But Jeff was undecided on what to do with his music, he did not become the new alternative rock star, and felt a lot of pressure on him. So at the beginning of '93, four months after the signing of the contract, there were no definite plans for the future. They took him into the studio and from there do these sessions - largely unpublished. The idea was to leave it free to play, so that he himself and sbloccasse. Then it was decided to launch it with a low profile, with an EP (the "Live at Sin-é", in fact, at the end of '93) and then finally get to "Grace" in September '94 - but generated a lukewarm reaction .

The so-called "Addabbo sessions" are themselves the subject of mythology once: something was leaked on the net, within states that were also engraved the first demo of "Grace".
Original "You and I" contains the title track of the debut album and "Dream Of You And I", perhaps the most touching thing about the disc: it is not a song, he tells Buckley and plays the idea of a song, he explains, and is the sound picture of the time when you finally let go - as well as having a beautiful melody.

Cover songs on the disc, many are already known and loved in other versions: "Calling you" (the soundtrack of "Bagdad Café" - one of the pieces in which Jeff pulls better his voice), to "Just like a woman "Dylan and" Night flight "of Led Zeppelin, played thick at Sin-é (and included in the Legacy Edition of 2003) to the two covers of the Smiths" I know it's over "and" the boy with the thorn in His side ". Others were far less known, if not entirely unknown, as "Everyday People" by Sly & The Family Stone, not surprisingly used as the launch of the song.

What makes it unique, "You and I", in a posthumous discography inevitably overcrowded, is the quality of the recordings, both in purely sonic terms (it has been done a great work of restoration), both in terms of content. E ', in fact, an original disk, not just a historical document.

And 'yet another post-mortem exploitation? Of course, you can also read as well. This operation is done with care, and one of the most important of his death. But if you think this way, you should read the liner notes of the mother Mary Guibert, who always took care of the operation. Are disarming: you can be found after the Tracklist.

"Just like a woman"
"Everyday people"
"Calling you"
"Dream of You and I"
"The boy with the thorn in His side"
"Poor boy long way from home"
"Night flight"
"I know it's over"

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Review (no spoiler)

Posted : 8 months, 3 weeks ago on 4 February 2016 08:24 (A review of The Hateful Eight)

After the first few minutes of the film, with all that snow, that Christ in the foreground taken while the 70mm movie camera gets up to make us see the arrival of the direct coach at Red Rock and the incredible music of Ennio Morricone There goes very well in the ears to make us understand that it is indeed a western, but also a horror, maybe that's the Quentin Tarantino version westerns of Howard Hawks' the Thing and the Thing John Carpenter, we already knew this the Hateful Eight won. He won.

And when we see the figure of Major Marquis Warren, even as the director Charles Marquis Warren, played by Samuel L. Jackson who feels Lee Van Cleef, which stops the carriage where they travel bounty killer John Ruth Kurt Russell and his very bad Daisy prey Domergue (even as Faith Domergue) Jennifer Jason Leigh, who then would be the daughter of Vic Morrow, do not forget to Sledge director, old spaghetti westerns that I love, and the three began to talk, because even the largest is a bounty killer, we are already fed up with a film that has just begun.

The western fans, of course, immediately begins to build its web of references. Of course there is John Ford's Stagecoach-Stagecoach, that Quentin does not love, but Ringo John Wayne stops the carriage just like Samuel L. Jackson, then there is the coach of A Fistful of Sergio Leone, and that of hundreds and hundreds of small western. Not to mention the American TV series 60. But above all, there is the carriage in the snow of the convicts transported from Robert Hundar with his daughter Emma Cohen in the great western horror Spanish Condenados a vivir (or Cut-Throats Nine) Joaquin Luis Romero Marchent, perhaps the most similar movies thematic and violence at what she has in mind Quentin. But that movie or many movies in his head Quentin simultaneously? Meanwhile, there is a fourth passenger for the carriage, the neo-Sheriff Chris Mannix, ie Walter Goggins, the most talkative, last scion of a family of Southerners rebels, ready to confrontation with Major, who is black and has a letter Lincoln's personal with him.

Mannix brings to the film a key from the show, as the name indicates, but also brings the timeliness of an America not pacified six or seven years after the end of the Civil War, which will be the whole of the film policy key, the a clash never finished within American society, that only fiction can quench. But when the action moves and will remain there for all the film, in Minnie's Habedashery, the cursed inn where the sheriff Mannix, the two bounty killers with their prey, Daisy Domergue, who should be brought to Red Rock to be hanged, and the four come together with four other very strange characters, an English dandy, Oswaldo Mobray, Tim Roth, a general old Southerner, Sanford Smithers, that is, the heroic old Bruce Dern, a strange cowboy who tells him to go to his mother, Joe Gage, that is, Michael Madsen and Bob the Mexican Demian Bichir, also able to play the piano, but none of these has anything to do with the old owners of the inn, the Indian Minnie Mink and her husband Dave Sweet, it is clear that the film takes another turn. That is, we are in the realm of stageY westerns, usually very rare, more suited to the western TV series, because he is poor, that the true western, although Shoot the Living and Pray for the Dead by Giuseppe Vari, written by Fernando Di Leo, with Klaus Kinski as bad, but all are fake and bad there, it's what you have in your head Quentin.

He has in his head, of course, also the great silence of Sergio Corbucci, another western with snow with Klaus Kinski bad, Jean-Louis Trintignant dumb and Vonetta McGee black presence. And let's also great movies of the '30s and' 40s, such as The Petrified Forest Archie Mayo or as John Huston's Key Largo, which are the basis of every great black comedy whole set in one set apart from the world. Yes, because you will have to destroy these four characters in search of some kind of truth in the night they will spend together. And, of course, no one is what it claims to be. The only truth that is given us to know is that there is a red candy hidden in the floor. Sign that something unpleasant has happened recently in the inn, and that the door was broken. Everything else I do not say.

But I tell you that it is a film in which Tarantino plays with itself and with its cinema, not only with the one he loves. Use the spaghetti western to give greater strength to his characters, but he thinks deeply about the American cinema, by Howard Hawks in Delmer Daves, and American society today, to his violence. Not at all a peaceful film, but a film where you do not make concessions to anyone. Even in the violence, as usual, you will save not irony and found almost classic cartoon, Tex Avery. It is an ensemble film, where no actor is really more important than the other. It is also a very free movie, to the point that at the end of one of the six chapters, do not tell you who, the same goes Tarantino with his voice on the field, he tells how things are and says with a flash back sosa really happened. And to make matters worse at this point the film becomes a real yellow. But not at all. It is always and only an American disguised as spaghetti westerns westerns that hides a science fiction horror depth on the type of the thing, that the music of Morricone, partly recovered from that Carpenter's film, exalts. But the end is also something deeper and even more free. For this more difficult to win the Oscar. But it's a great film.

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Steve Jobs review

Posted : 9 months ago on 25 January 2016 07:48 (A review of Steve Jobs)

If you're given the task of interpreting a film with the speculative mind of a genius indisputable, it may help not to make too many stupid moves. That said, consider a triumph as well Steve Jobs, a film so innovative and surprising in the design and implementation to leave intimidated.
Michael Fassbender is moving very well in the role of volcanic co-founder and CEO of Apple, a man badly in relationships, but capable of flying very high when it comes to revolutionize the world of personal computers and anything else digital, from music to animation (with Pixar) publishing, up to those iPhone that we are wearing as if they were a second skin. The Jobs of Fassbender is a tornado of ferocity, anger and repressed feelings. It is also fascinating, seductive and fun, which makes it even more dangerous if you get too close.

The screenplay, written by Aaron Sorkin, won an Oscar for The Social Network, is absolutely brilliant. Sorkin has not only followed the bestselling biography by Walter Isaacson: he absorbed in her DNA, and said with a bold structure and a very personal point of view. He divided the film into three periods, each telling the story of the launch of a product created by Steve Jobs, shot in three different formats by Boyle with the help of the talented cinematographer Alwin Kuchler. The first part is in 16mm film in low resolution and is set in 1984 in Cupertino, California, where the 29 year-old Steve Jobs created the first Macintosh. The second, on 35mm, opens with a conference at the San Francisco Opera House in 1988, in which Jobs, downloaded from Apple, NeXT presents the general indifference. The last part, filmed in digital high definition, takes place in 1998 at Davies Symphony Hall in San Francisco, where Jobs, again at the helm of Apple, announced a spectacular presentation of the new iMac. As Jobs, who always rush to do the next thing, Sorkin leaves you with the task of keeping up the story. But it is a challenge that is worth collecting.

Congratulations to the teacher Danny Boyle (Trainspotting, Slumdog Millionaire, 127 Hours) for directing the three acts of the script with the pace of a thriller. Boyle also knows how to fill the spaces (few) between words and reveal the emotions of the masses of people who enter and exit the tumultuous life of Jobs. Sorkin moves the characters on a chessboard (remember Birdman), without worrying too much to check if they were really present during some of the outbursts of Jobs, but always making sure that their actions and reactions reflect a truth often hard and uncomfortable.

The actors could not be better at reciting a long duel 14 years against the man who has compared himself to Julius Caesar, an emperor surrounded by enemies. A superb Seth Rogen reveals the wounded heart of Steve "Woz" Wozniak, cofounder of Apple who can not take lightly the refusal of Jobs and his team recognize the success of the Apple II. And Jeff Daniels, actor icon Sorkin in the HBO series The Newsroom, can interpret every nuance of the personality of John Sculley, CEO of Apple, who dismisses Jobs kicking off his cruel revenge. But there is someone who can tame this fierce perfectionist? The marketing director of Polish Joanna Hoffman, comes close. Interpreted by Kate Winslet Oscar, can radiate courage and grace in equal measure, Hoffman is the only person who gives a hard time to the head. She is scolding billionaire Jobs for leaving misery in his former lover Chrisann Brennan (Katherine Waterston) and his stubbornness in not wanting to recognize the paternity of his daughter Lisa, five years.

Sorkin has never tender with the protagonist, adopted son with the horrible tendency to keep distant loved ones. But Fassbender also makes us a glimpse of his humanity. What they do not see is the Steve Jobs older and richer, married Laurene Powell and father of three, who has created more miracles branded Apple, fought pancreatic cancer, which consumed his body and for which He died in 2011 at 56 years. The film aims to capture the man behind Steve Jobs, and tell it in three public events in which people who defined their life in relation to his came forward at the last minute to give it a sound punishment. Hard? Yes it is. But it is essential to talk about a pioneer who created products from coating immaculate and stylish to hide all the intricate circuitry inside. Steve Jobs shows us for the first time these internal circuits, never belittle the role of rebel and visionary who changed our digital life, and continues to do so today.

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This Is Acting review

Posted : 9 months ago on 25 January 2016 07:37 (A review of This Is Acting)

There is a passage in the interview that both priceless granted in December to Rolling Stone, the American one. He explains how to write for third parties: compulsando smartphone stores where ideas, trying to match a singer and song, sniffing the air pulling looking for popular topics. The Australian songwriter exposes the prosaic nature of his profession in the new album "This is acting", the seventh in a discography full of little twists and turns, a journey in search of an identity in constant evolution. "This is play", the title says. Both mean that it does not express itself, but in the role of others as you would an actress playing pieces he wrote for Rihanna, Adele, Beyonce, Shakira, and they refused. Waste are, literally, but a half rivals anything nowadays transmit radio networks. Lighter than the previous "1000 forms of fear", it follows the musical forms. The songwriting was a shameless appeal that here and there refer to the '80s power ballad, but sound and arrangements comply with the rules of the contemporary song.
If this is acting, Sia Furler is an excellent actress. She, a decade older than the pop star whose songs and provides suggestions, sings here and there as its customers, for the same phenomenon that has led many to think "Ah, the new Rihanna" the first time I have heard "Chandelier". And the good girl gone bad had proposed "Reaper" and "Cheap thrills" with the idea for them to finish on "Anti". The most sensational of the two, "Reaper", was composed and produced by Kanye West. It is a pop song by the candid nature, and music at the simple and imaginative vocal colorings, where Furler says in the face of Sad Reaper to come back in there, for these were many things to do. "Cheap thrills" is thin and flat. It is the song of the girl who is preparing to do havoc to the disco at any Friday night. Both voice seems rejuvenated unnaturally - ah, make up digital - while a choir of children and an oriental tune just mentioned adding another load of kitsch which he did not feel the need.
If "Footprints" is part of a group of a couple dozen songs written for the album of 2013 of Beyoncé, "Move your body" it is a Tamarra who knows Shakira a kilometer away. It is much, much better "Free Bird in September": written for the soundtrack of "Pitch perfect 2", discarded, given to Rihanna, refused, offering to Adele for "25", again rejected. It is brought home in an interpretation of passion, with shameless way and histrionic who both sing capable of rescuing even simple texts and metaphors worn. The same goes for "Alive", designed to "25", written with the English singer and songwriter Tobias Jesso Jr, to "Goon." It is the confession of a surviving his demons that celebrates itself and is built on the contrast between the verse and chorus empty aftertaste gospel. The single "One million bullets" goes beyond the concept of the album. Is not proposed it to anyone, it decided to keep for himself this song where "oh oh oh ohhh" winking at odds with the text of a love story from the end of the world.
The problem of the album is the fickle nature of the compositions and arrangements. Each piece of first choice is a jumble of clichés like "Unstoppable" and "House on Fire" sounds cheap and free of any development. It is therefore welcome "Space Between", the farewell in which both again pulls out his acting ability on the basis of a ghostly reverberations. In short, "This is acting" reveals strengths and weaknesses of Australian songwriter and in his small, dismantling the toy contemporary pop. Explains the most distracted who is behind the success of some of the biggest stars living, but does not add much to the identity of the woman he loves hide behind big blonde wigs, two-tone today. Hiding is useful, said both the show's host Ellen DeGeneres, "I can piss on the roadside with no one to follow me filmarm

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