Favorite films

  • Indian Summer
  • The King of Comedy
  • For a Few Dollars More
  • The Magnificent One

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  • Railroaded!

    ★★★

  • Pretty Poison

    ★★★★★

  • Joe Dakota

    ★★★★

  • The Earrings of Madame de...

    ★★★★★

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  • The Beekeeper

    The Beekeeper

    ★★★★★

    "27 του Απρίλη. Αν με ρωτήσει κάποιος, μια γυναίκα ίσως, 'Ποιος είστε;', 'Τι θέλετε;', θα πω: 'Τίποτα. Τίποτα, περνούσα - έζησα εδώ, πριν από πολλά χρόνια."

    It's still very early to call, especially since by all accounts this constitutes one of his more streamlined works, but Theo Angelopoulos certainly subverted my long-held expectations and assumptions of him. This is no more "inaccessible" than an Italian arthouse work (exempli gratia, Antonioni's quite similar Il Grido); I can also picture Vincent Gallo…

  • The Ogre of Athens

    The Ogre of Athens

    ★★★★

    A seminal picture for the Greek 1950s (still very much developing in the art of cinema back then), perhaps our national answer to the "wrong man" film noir, with a strong dash of Italian neorealism. A humble story about mistaken identity, loneliness and life on "the wrong side of the tracks" (in the country most devastated by the conflicts of World War II), as well as a terrific character study/showcase for Dinos Iliopoulos (featured later in a supporting role in…

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  • Pretty Poison

    Pretty Poison

    ★★★★★

    "I've learned that people only pay attention to what they discover for themselves."

    Lying discreetly somewhere between the seminal psycho-noir Gun Crazy and Terrence Malick's Badlands, but simultaneously peppered with some Cold War paranoia and filtered through the satirical comedy of A Clockwork Orange and the evocative visuals of The Swimmer. A lost 1960s mischievous classic (Bonnie and Clyde wishes it was half as subversive) and a watch almost as invigorating as Tuesday Weld herself in that blue flower dress. Here's your Pepsi, sweetheart.

    P.S. Norman Bates + Don Quixote = Literally Me (?).

  • Joe Dakota

    Joe Dakota

    ★★★★

    No Shots Fired: the beginning of an invisible bridge connecting Bad Day at Black Rock with Eastwood's High Plains Drifter. The wholesome and romanticized American B-western (no better symbolized than in the angelic Luana Patten) starts getting perverted by glimpses of darkness and avarice. Another early secondary appearance in which Lee Van Cleef leaves a strong impression (before the Eyetalians turned him into a bona fide star). And that climactic scene at the exploding oil well becomes almost something expressionistic - not to mention a dramatic inversion of the more comical first time we encounter said location in the movie.

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  • Spider-Man: Far From Home

    Spider-Man: Far From Home

    Almost the vulgar, unbearable antithesis to John Carpenter's seminal They Live: don't believe what your eyes can clearly observe around you, believe only what we want you to believe. On the text, it's a shallow Iron Man Jr. pseudo-adventure with teeny-bopper drama, cheap dollar-store humor and over-lit and weightless digital action. In other words, it's every blockbuster coming out this summer. Everything is a joke in this movie. Character development and maturation? Joke. Couples getting together? Joke. Cities destroyed? Joke.…

  • Escape from L.A.

    Escape from L.A.

    ★★★★

    "The more things change, the more they stay the same."

    Possibly the most misunderstood movie of all time. Roger Ebert for once got something right, by defending it way back in 1996. A parody of action films done perfectly, avoiding modern self-referentiality and constant wink-winks. Perhaps the first successful remake-quel to (n)ever come out of the Hollywood machine, as it deliberately repeats and mocks beats from Escape from New York (e.g. Plissken finds and rests on a random chair, meets…