Cinema Omnivore

Cinema Omnivore

a film boffin, I write review of every movie I have watched on my blog and here.

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  • I'll Give a Million

    I'll Give a Million

    ★★★

    Mario Camerini’s I’LL GIVE A MILLION is an exemplar of “telefoni bianchi (white telephones)” trying to make a difference, but the outcome is not entirely satisfactory. An early talkie, it stars Vittorio De Sica as a disillusioned millionaire who pretends to be a pauper, all he wants is to find a person to treat him decently without the knowledge of his intimidating wealth, and he will award that person with one million in return. 

    This rumor goes wild in the…

  • Parents

    Parents

    ★★★½

    Thrusting audience into America’s ‘50s suburbia of contentment, where behind the closed doors, inconceivable horrors lurk within a perfect nuclear family, actor-turned-director Bob Balaban’s first directorial effort PARENTS is a black comedy/horror melange that walks a tight rope in balancing the tonal shifts, and it is satisfactorily effective. 

    Displaced by his family’s recent move, 10-year-old Michael Laemie (Madorsky) is a gawky kid who inclines to keep to himself, haunted by morbid thoughts and gory nightmares, he begins to suspect his…

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  • The Rain People

    The Rain People

    ★★★★

    On the road, driving aimless westward, New York housewife Natalie Ravenna (Knight) finds out her unexpected pregnancy and needs some alone time, so she leaves her asleep husband a note and a breakfast, then starts her peregrination all by herself.

    Coppola’s fourth feature and he was 29 when the movie is shot, THE RAIN PEOPLE is an unsung gem prior to THE GODFATHER (1972), using extreme close-ups, mood-reflecting camerawork, Coppola retains a sober and intuitive acumen to guide Natalie on…

  • Heartstone

    Heartstone

    ★★★★

    First feature from Icelandic director Guðmundur Arnar Guðmundsson, this year Venice’s Queer Lion award receiver, which also competes in the Venice Days category. HEARTSTONE patiently limns a poignant coming-of-age crisis between two 14-year-old boys Thor (Einarsson) and Kristján (Hinriksson) in a remote fishing village with admirable unpretentiousness and sensitivity, only if its 129 minute length could have been pared down into something more coherent to deaden a tinge of fatigue instigated by its monotonous locale and milieu.

    There is no…