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Suburra 3 review: Alessandro Borghi in the explosive final season

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Everything must end. Suburra too, the criminal parable most loved by Netflix fans. The series, initially presented as a prequel to the film of the same name by Stefano Sollima, will return with the third season from next October 30, but we have been able to see it in its entirety in preview, and according to however we are finally ready to express. our final judgment.

A season 3, it’s appropriate to say, quite disturbing, because it reaffirms (even from the first episode) his desire to definitively break any link with the film of which it should represent a precious background. The perplexity is twofold because, without many great elements, the show’s new round of episodes co-produced by Netflix me Cattleya It is (of the three) perhaps the one we liked the least.

Where were we

Let’s do a brief summary of the story so far, although perhaps the plot told by the Samurai from Suburra the Series could be much more effective than our words. The series comes to life a few years before the events of the Sollima feature film: we are in 2008, in a Rome divided between organized crime (in turn divided between the “old bosses”, heirs of the Magliana of the late seventies, and new impetuous gangsters) and deep corruption, between the ranks of politics and even between the ranks of the Church, in the solid Vatican Walls. The plot, as we know, revolves around political plots on the one hand, with prominent exponents of both the legal panorama of the Church and the Capitol involved in a dangerous power game, and in criminal disputes, as well as in impossible loves and others. If on the first front we could enjoy with pleasure the intrigues of Sara monaschi (Claudia gerini), an influential woman with the right knowledge who nails her claws in the Vatican, and of the ambitious Amedeo Cinaglia (Filippo Nigro), an unscrupulous candidate for mayor of Rome and willing to get his hands dirty to achieve his goals, in the second we have a history of forbidden brotherhood in the most classic scenario consisting of a bitter rivalry between criminal families.

the Adami, lords of the lands of Ostia whose guidance is found the Aurelian by Alessandro Borghi (the future “Number 8“In Sollima’s film), and the Anaclet, Sinti family strongly anchored to traditions and archaism, which after the events of the second season sees the very young Spadino, since his brother Manfredi (Adamo Dionisi)He ended up in a coma after a shootout with Aureliano.

In the middle there is Catfish (Eduardo Valdamini), the son of a policeman who from a “banal” drug tour is more than involved in the criminal machinations of the two clans, but his parable ends in tragedy when (at the end of season 2) he decides to commit suicide in front of his two friends, the Adami and the Anacleti.

Finally, mediate between the two worlds, the underworld and the political-ecclesiastical Samurai, who in the Netflix series is played by Francesco Acquaroli (and not from Claudio Amendola, as in the film): the most powerful man in Rome, the most influential and respected criminal, who has an interest in keeping the criminal balance of the Eternal City intact due to a major building agreement with the clans . gangsters who from Sicilian lands try to sink their claws into the capital.

Where we have arrived and where we will arrive

The excellent Suburra 2 (read our Suburra Season 2 review here) ended, in fact, with lele sacrifice, which shocked Aureliano and Spadino, with Cinaglia’s choice as mayor of Rome and the consequent alliance with Samurai and Sara, but above all with awakening of manfredi from coma: that “What am I missing?”, which smells of threat and expectations for a plot that, now in its final chapter, has two fundamental tasks: to finish off a product that has always been well packaged and above all to establish a status quo that fits completely with the opening events of the Suburra movie.

But Suburra 3 immediately disables and destroys the second, and perhaps more important, need. The story, which from the end of the first episode of Season 3 offers an incredible twist in contrast to the script of the feature film, only reserves surprises until its moving epilogue, which officially “scanned” the show’s “prequel” status. If until the previous iteration there was indeed the possibility of connecting with the film, although with some reservations – such as the increasingly fraternal relationship between Aureliano and Spadino, which we expected sooner or later to reach a deep break – different narrative elements of Netflix. series, no matter how central to the development of the plot and the conclusion of certain stories, take a completely different path, defining at the end “Suburra – La Serie” asand a real alternate story, a new adaptation of the novel by Giancarlo De Cataldo. Basically, between the Suburra movie and the series there is now the same relationship that we found between the show and the Gomorrah movie, but the differences here become even more sensational given that Sollima’s film work includes in part the same cast from the Netflix project.

The price of power

But beyond that, what is Suburra 3 like then? Are you able to effectively close the cycle that began in 2017? The answer is that, sadly, it only does so partially. This latest edition, in fact, quite effectively ends the macrohistory horizontally, but not with some resignations and some critical issues: first of all the rhythm, high, frantic, perhaps too much. Netflix and Cattleya have in fact chosen to end the series with a block of only 6 episodes, a decision that, while making the script gain freshness and speed, is also necessarily the victim of a really hasty story, which resolves some ideas (or even definitively closes certain plots) in a few hasty lines.

This is the case of characters like Sara, who despite having exhausted much of her narrative arc in previous seasons transforms here (from a key element of the intrigues between the clergy and Roman politics) into a mere hastily acclaimed appearance. .
The less presence of some key characters, and at the same time the absence of new faces to give greater freshness and dynamism to the quality and rhythm of the plot, thus, they make the narrative trend a bit fluctuatingIt is less convincing than usual, despite the fewer number of episodes in favor of the cadence of the turns.

Perhaps this Suburra 3 pays: a lower narrative quality, and a too hasty pace, in favor of the good qualities of the product, which remain such. Above all, we said, the plot twists, which evolve in an interesting way some characters and dynamics, especially the relationship between Nadia and Angelica (the excellent Federica Sabatini me Carlotta antonelli), and in general an exceptional performance sector, which in the two main axes of production (the incredible Borghi and Giacomo Ferrara, interpreter of Spadino) is definitely consecrated, surrounded and supported by a cast that -although reduced to the bone- confirms his exceptional talent.

All of this echoes a technical and effects sector, in line with production standards: good special effects, as always, between shootings and explosions, embellished with an anchor excellent scenery, that enhances the darkest glimpses of a violent and suburban Rome. A fresh and enveloping direction, although not superlative, is finally accompanied by a frantic and efficient editing, although not very brave compared to that of the first editions, which nevertheless plays its role without being wrong, but without shining too much.

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How “Psycho” (and the fear of spoilers) changed the way movie theaters forever

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Much has been written about the impact of Psychosis, one of the most forceful works of the teacher Alfred Hitchcock and it is impossible to deny the actuality of the film in modern cinema. It has influenced filmmakers of all generations and has generated sequels, imitations and, of course, the fear of the shower and motels of those who experienced this mass phenomenon in 1960. But with his work, Hichcock not only impacted with what appeared on the screen. , but how did you decide change audience habits at the time. Or rather, how he ended the mania of being late to the movies when the movie had already started.

To understand the phenomenon, you have to know that at that time people entered the screenings when they wanted, it did not matter if the film was started. The patterns of this ritual were summed up in a once common motto that is now unknown to moviegoers of a certain age: “This is where we come in.” Throughout the classic Hollywood era, viewers flocked to a movie screening whenever they felt like it, paying no attention to the progress of the narrative. What they were doing was basically going to the middle of the movie and watching it through to the end, watching the previous newscast, the animated / comedy short that aired at the beginning, and starting the movie where they came from.

At that moment, the spectator whispered to his partner: “This is where we come in”, and then they left the room. It’s hard to believe, but it did. Until Hitchcock came along.

Some moviegoers were spellbound and immersed in the movie more than once. Although fans were already counting on the ticket price being an open access pass, many exhibitors (who wanted crowd control) and filmmakers (who wanted a captive audience from opening credits to finish) disapproved. . The directors hated that viewers barged in and they will break, or never experience, the spell and magic of the movie. Cecil B. DeMille was especially bothered by the fact that viewers, and not himself, were deciding how to experience his films.

In 1950, Twentieth Century-Fox producer Darryl F. Zanuck and director Joseph L. Mankiewicz realized how difficult it was to turn the clock on American viewers. Knowing that they had something special in their hands, they asked the exhibitors of the big cinemas that they wanted to reserve Naked eva to sign a contract that “no customer should be seated after the movie starts” and “at the end of each performance, the theater must be clear.” Since the beginning of this movie is the end, it would spoil any audience’s enjoyment not to see it from the beginning, it was clear.

But after just four days, Fox dropped the proposal. Why? Many cinemas generally attracted large numbers of pedestrians wowed by the lobby displays. Impulsive moviegoers simply they refused to wait for the next pass and they went to the nearby cinemas, which kindly let them in.

And then Hitchcock came along

It was the terrifying event of the year. 1960. Families, couples, friends, all filled the rooms, screaming and throwing themselves into each other’s arms. But this time it was going to be different. Hitchcock and the production team of Psychosis made a marketing effort (trailer and posters included) so that exhibitors they close their doors to late-arriving spectators. “No one … BUT NO ONE … will be admitted to the theater after the start of each performance of PSYCHOSIS“He read the posters, which showed Hitchcock himself pointing to his watch as if warning students not to be late for class. Of the many “firsts” films attributed to Psychosis, the change in habits was surprising.

The idea was actually from Jerry Pickman, Paramount’s vice president of advertising, who I wanted to “protect the twist and end of the story” and create the best atmosphere for Hitchcock to scare people. “The enjoyment of the movie would be diminished unless the customers saw it from the beginning,” Pickman said. Hitchcock, who was always his best publicity accomplice, followed his colleague’s plan. “I realize this is a revolutionary concept, but we have found that Psychosis it’s different from most movies. It does not improve when it is seen in another way ”, explained the director.

If you know the movie, then you know the whole plot revolves around the twist where Marion Crane is murdered at the end of the first act, and the entire movie leads to her sister and her partner looking for her at the Bates Motel. This twist leads to the even more shocking revelation that Norman Bates dresses as his mother and is the one who is killing. And of course, if you went to the movies in the middle or at the end, you would have spoiled everything.

On June 16, 1960, after an exhaustive campaign, the DeMille and Baronet theaters in New York premiered Psychosis with the edict to see her from the beginning. Exhibitors pushed audiences in and out with military efficiency (staggered schedules, every two hours for the 109-minute film). Once Alfred Hitchcock lined them up, audiences knew that the middle of the movie was no longer the place to go. Sixty years after Psycho, the guards no longer had to block the movie theaters. And today, no one in their right mind would walk into a movie theater in the middle of a screening.

A pioneer against spoilers

But that’s not all, Hitchcock was also a pioneer in spoiler prevention. A few years ago, with the premiere of Avengers Endgame, the directors of the film, the Russo brothers released an official statement: “When you see Endgame In the next few weeks, don’t spoil it for others, in the same way that you wouldn’t want them spoil it for you. Remember, Thanos still demands your silence. Marvel even went ahead and bought an emoji for the hashtag #DontSpoilTheEndgame.

But this has happened long before, at the hands of the same man who demanded to get to the movies soon. Alfred Hitchcock went out of his way to make sure everyone who saw him Psychosis they were aware that spoiling the movie for the rest was foolish. And what did you do about it? It introduced an anti-spoiler message directly into the marketing. “If you can’t keep a secret, stay away from people after seeing Psychosis“It was one of the mottos of the movie. Here you can see one of the advertising posters:

The director revolutionized film marketing with that horror play, and his efforts, of course, paid off, as the film was a huge success for Paramount. The stunts turned the thriller into an event theater, but more importantly, a director could be seen working overtime to protect the sanctity of the cinematic experience. And 61 years later, with movie spoilers rampant on the internet, Hitchcock’s pioneering efforts in 1960 can be seen today. Nobody wants to ruin the movie.

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“There is no kink like Luke, I am your father.” ‘Shang Chi and the Legend of the Ten Rings’ director claims Tony Leung plays an original villain

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‘Shang Chi and the Legend of the Ten Rings’ opens in a few months and, to this day, we had seen practically nothing. Wonderful He has taken advantage of the birthday of the main actor, Simu Liu, to surprise us all with the release of the long-awaited trailer. A cash advance that promises plenty of action, humor, excitement … and a great claim to a wacky Asian cinema as a server: the entry of Tony Leung in the Marvel Universe.

The real Mandarin?

A regular contributor to filmmaker Wong Kar-wai, Leung is portrayed as the hero’s father and also as a new wonder villain, leaving a first clue about the biggest conflict that Shang Chi will have ahead. Leung brings to life a character named Wenwu, a powerful warrior who has adopted many names over time, being also known as “The Mandarin”.

Recall that the Mandarin already jumped from cartoons to the big screen in ‘Iron Man 3’ (2013), causing a strong controversy among comic fans for the freedoms taken by those responsible for the film. Thanks to Ben kingsley Y Guy pearceMarvel and Shane Black created a huge surprise that divided the public. Now it seems that another version of Mandarin is coming to us, perhaps more faithful to the comics but it is still not so clear …

Or at least, they still don’t want to present it that way. Which is fine because the movie opens in September 3 And there’s no point in gutting it all now Destin Daniel Cretton, director of “Shang Chi and the Legend of the Ten Rings”, Wenwu is an original character created for the film although, effectively, it is linked to the mysterious terrorist organization of the Ten Rings, already presented in the first ‘Iron Man’ (2008).

“Wenwu could easily have been a heartless one-dimensional villain. Tony opened up this character to be an antagonist who has a profound ability to love.Cretton declares. Marvel Studios boss Kevin Feige adds that they haven’t looked for a “twist like” Luke, I’m your father “. Shang-Chi knows who his father is and is determined to leave that world behind before he is dragged back. “

It is funny how Marvel returns to quote ‘The Empire Strikes Back’ although this time to discard the reference; the Russo brothers acknowledged seeing the classic “Star Wars” to orchestrate the devastating ending of “Avengers: Infinity War.” Whether or not he is the true Mandarin, it is unquestionable that Marvel has succeeded in signing Tony Leung, I am looking forward to seeing what he does with the character.

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‘Shang-Chi and the Legend of the Ten Rings’: Impressive trailer for the debut of an Asian Marvel superhero

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Wonderful It has been asked at the beginning of the promotional campaign of ‘Shang-Chi and the legend of the ten rings’, the first film of the study starring an Asian superhero -Chinese to be more exact-, but now we can finally take a look in the trailer and poster of this film directed by Destin Cretton, responsible for titles such as “The Crystal Castle” or “A Question of Justice”.

A long-term project

Created by Steve Englehart and Jim Starlin In 1973, to try to take advantage of the popularity of kung fu, Stan Lee himself tried to make his leap to the big screen in the 80s with Brandon Lee as the protagonist, but it did not take off until recently with Simon Liu in the lead role.

The Avengers Unite! In what order should you watch all the movies in the Marvel Universe?

The story of ‘Shang-Chi and the legend of the ten rings’ will begin in San Francisco following a seemingly normal person but without a fixed course in life. Of course, his past is much less ordinary, as he was trained by his father to succeed him in his criminal affairs, but upon discovering it, his son decides to follow a different path.

His father’s character has been created specifically for the film and will be played by Tony leung. Of course, be very careful with him, because from Marvel they already warn that he has received different names over the years and you may know that of The Mandarin, one of the most mythical villains of the company and whose name had already appeared previously. in the MCU….

Along with Liu and Leung we will also see in ‘Shang-Chi and the legend of the ten rings’ Awkwafina, Michelle Yeoh, Fala Chen, Florian Munteanu and Ronny Chieng. The September 3 We can check the result, since that is the date chosen by Marvel to release one of the most anticipated films of 2021.

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