List of the Reviewed Movies from A to Z

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Giuppi Awards 2018

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Best Picture 1. The Favourite 2. Roma 3. Cold War 4. Loro 5. Suspiria 6. If Beale Street Could Talk 7. Bad Times at the El Royale 8. First Reformed 9. Shoplifters 10. The Ballad of Buster Scruggs Best Director 1. Alfonso Cuaròn, Roma 2. Pawel Pawlikowski, Cold War 3. Paul Schrader, First Reformed 4. Luca Guadagnino, Suspiria 5. Yorgos Lanthimos, The Favourite 6. Barry Jenkins, If Beale Street Could Talk 7. Hirokazu Kore'eda, Shoplifters 8. Karyn Kusama, Destroyer 9. Marielle Heller, Can You Ever Forgive Me? 10. Julian Schnabel, At Eternity's Gate Best Actor in a Leading Role 1. Willem Dafoe, At Eternity's Gate 2. Ethan Hawke, First Reformed 3. Alessandro Borghi, On My Skin 4. Lucas Hedges, Boy Erased 5. Bradley Cooper, A Star is Born 6. Marcello Fonte, Dogman 7. Toni Servillo, Loro 8. Victor Polster, Girl 9. Ryan Gosling, First Man 10. John David Washington, BlacKkKlansman Best Actress in a Leading Role 1. Rach
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Love, Simon (2018)

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The representation of LGBTQ+ characters has improved significantly over the last fifteen years, spreading through a variety of remarkable films. Films like Brokeback Mountain , Blue is the Warmest Colour , Carol , Moonlight and Call Me by Your Name are all masterpieces in their own, unique ways and they represent excellent achievements in both style and substance. There is one thing common to these movies: tragedy. Whether it is death, a painful separation or a bittersweet reunion, all of these characters must bear overwhelmingly aching consequences of their sexuality. This does not take away from the quality of the pictures themselves: as I said, they are all brilliant and deservedly recognized as such, and the tragedy is perfectly coherent to the setting and context of each movie. Love, Simon is certainly a far less ambitious movie than the previously mentioned and it does not reach their technical brilliance nor their raw power. In its style and its execution, Love, Simon
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Frances (1982)

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Though presented as a true account of the life of the actress Frances Farmer, Frances  has been proved in later years to be a largely fictionalized telling of her story, more based on the actress' inaccurate biography written by William Arnold rather than historical facts. Speaking for myself, I'm not particularly bothered by the lack of historical inaccuracy as long as it is not ridiculously and blatantly obvious and most importantly does not betray the nature of the person involved (a recent exemple is The Greatest Showman , in which P.T. Barnum, by all accounts an exploiter, is turned into a champion of diversity and human rights). The problems with Frances extend past its historical innacuracy: for instance, the movie's choppy editing results in a rather uneven pace and for every visually appealing frame there is one that feels even clumsily shot. Ultimately it is neither a great biopic nor a great film, but Jessica Lange's incendiary, showstopping performance
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