
Over the course of a day, Fausto, invincible in his inertia, watches a paradoxical procession of visitors pass by: the mellifluous parish priest of the town; a mysterious man with his absurd ghost-themed business idea; the captain of the Carabinieri who proposes a shotgun wedding to his daughter, who has become pregnant by a stranger. Finally, late at night, a couple of thieves enter the house with Barbara's complicity. Fausto surprises them, impassive and bored as always, and reassures them: there is nothing left, neither gold nor paintings, everything has been sold. The three do nothing but chat until the sun rises, when the thieves leave and Barbara puts the coffee on the fire.
It’s a cool looking Marvel character right off the page! He’s got these glowing eyes and he just kicks ass everywhere he goes, seemingly impervious to pain.
Remember when there was this amazing comedy titled "National Lampoon's Vacation"? To this day, it is a true classic of the genre and certainly put a new spin on precisely what KINDS of insanity could occur when taking the fam on the road. Then, like with so many successful films, there was the sequel (which for me was even MORE of a classic than the original!). However, the third film emerged....and then a fourth. Suddenly, the luster was gone and disappointment set in.
It: Welcome to Derry proves you can have rich representation, real humanity, and still fully enjoy Pennywise terrifying kids in sewers.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.