Written by Massimo Troisi, who also stars along with his legendary sidekick Lello Arena, No grazie, il caffè mi rende nervoso is a pleasant poliziottesco comedy that plays on Neapolitan stereotypes. Demented at times, but never stupid, the film delivers moments of great fun including precious scenes of Troisi testing his bodyguards by faking a kidnapping, Arena awkwardly attempting to interview a nervous James Senese, and always Arena trying to escape on the subway to an old classmate of his intent on reattaching relations. A must-see for fans of Troisi and Arena.
A slightly atypical product compared to the director's previous filmography, Un certo giorno is an evocative and interesting work to analyse. The feature film deals with a path of value reassessment within the life of its protagonist, forced by a series of 'fortunate' and 'unfortunate' events. Always set in the context of the working world to which Olmi is strongly attached (and critical), the film is well acted (again by non-professional actors) and contains some valuable fragments. Especially fascinating is a dialogue and a dance scene between the interviewer and her lover colleague.
Harsh and uncomfortable, Memory House is a drama that leaves a strong bitter taste in the mouth. A dreadful story, brilliantly acted and accompanied by great cinematography. Some aspects related to the 'fantasy' element of the story can be improved (or somehow waived), but overall a more than good debut.
A film of great quality that traces the most decisive moments of Lincoln's life during the American Civil War. The cast and the acting are excellent, including an evergreen Daniel Day-Lewis and an exceptional Tommy Lee Jones. Although the pace drops at times, Spielberg succeeds in delivering a valuable product in the understanding of this tremendous historical epic.
A little gem of Middle Eastern cinema offering subtle food for thought in the context of the Israeli-Palestinian conflict. Etz Limon is a film that reminds us that 'stories only end well in American movies', that is, stories only end well for those on the winning side. Superb performance by Hiam Abbass.
The first emotional adventures and misadventures of three French teenagers discovering their sexuality. La Naissance des pieuvres is a delicate but thoughtful film that reminds us how influential those precious formative years are in a person's life. Noteworthy, first leading roles for all three main actresses, who show through their performances their great potential.
A very specific short documentary about one of the thousands of stories that characterised the Rolling Stones. At times funny and dreamy, Stones in Exile is mostly recommended for true fans of the band.
In this film, Marco Risi tackles an atrocious story of men on the edge of the primordial. Inspired by a real event, and unfortunately not particularly isolated, Il branco is a film that leaves a bitter taste in the mouth. Not at its peak, Risi could have aimed higher. The subject lends itself to being much more impactful. All in all, a discreet attempt that is often worth the time.
A semi-sentimental drama framed in the crude world of porn. Ferrario's intention to link the taboo of pornography (in this case uncensored) to the challenges of everyday life is brave and commendable. The result, however, is less so. Appreciable (for fans of Italian underground music) are the cameos with Giorgio Canali and Officine Schwartz. All in all, a film that is worth watching, but not more than once in a lifetime.
A film with an unusual and oddball protagonist confronts us with an atypical way of perceiving heraldry. Durante l'estate is a profound and sensitive story with fairy-tale senses whose peculiarities leave one doubtful at times. Overall an enjoyable viewing but one that does not reach the levels of the director's other splendid films.
Dopo mezzanotte is a typical example of a work in which it is impossible to make an unambiguous judgement. The script, the acting and the production appear to be decidedly low-level. One would think that this 'low fidelity' is a deliberate artistic choice on Ferrario's part. But when all is said and done, there is no reason to think so. To go along with these aspects, Dopo mezzanotte nevertheless remains a short, light and pleasant comedy. It is hard not to feel sympathy for the simplicity of the story and its characters.
Yet another big screen performance of Pergaud's classic La Guerre des boutons. The film shows many similarities with the previous Les Choristes by the same director, including the proximity of the historical period, the set design and the choice of most of the actors. In general, a pleasant movie for the general public but with little relevance and an often forced comic-sentimental intent.
The depiction of a post-wedding nightmare, which in turn proves to be a narrative nightmare for the viewer.
It deserves a pass only for a few scenes that stand out for their avant-garde value. A gem among these is undoubtedly Carlo's dream in which the protagonists are young boys going through a Catholic ceremony and young men dancing on a beach to the rhythm of Beat Music composed by an immense Ennio Morricone.
Following in the footsteps of many Italian and French directors of the time, Marco Risi tackles the theme of European expatriates in tropical countries. The film has a clear intention, but with an equally inconclusive result. The rhythm is broken up, the actors are left in performances that are far from their potential and the screenplay is inconclusive. Unfortunately, an utterly forgettable product.
Let me preface this by saying that I am not familiar with Maradona's history as I am anything but a football fan. I really appreciate Marco Risi as a director, but this film, despite having the clear claim to be aimed at a general audience, given the scale of the subject matter, left me with little other than biographical hints about the famous footballer. Generally questionable actors, a rambling pace and a general perceived emotional detachment of the director from the content make Maradona - La mano de Dios an utterly forgettable film. The bar has probably been raised a little too high here.
In his first feature film, Silvio Soldini immediately shows great sensitivity in tackling the dilemma posed to the protagonists of the new western millennium: the search for meaning in a society whose paradigms no longer have any. Despite the meritorious intent, the direction here is still acerbic. The film's hesitant pace makes it rather difficult to follow enthusiastically. Without infamy or praise, L'aria serena dell'ovest is a film to be seen only by those who want to frame the director's journey from its beginnings.
An unpretentious comedy centred on the typical dynamics faced by young Italians in the 21st century. Despite the potentially valid cast and the talents already demonstrated previously by Venier, Generazione 1000 euro does not surprise, does not entertain, and does not even seem to have the desire to do so. A futile attempt to reintroduce Santa Maradona a few years after its release.
Marco Ferreri's first feature film co-directed with the lesser-known Isidoro M. Ferry. Despite a promising start, this grotesque comedy loses its punch as it progresses towards the end. In spite of its short duration, after half the film the pace becomes tedious, creating a certain amount of suspense towards the finale. The latter does not lead to any twists and turns contrary to expectations, leaving overall a bit of a disappointment.
A film with a majestic production and a very high potential that turns out to be disarmingly banal. The morbid story with its pathetic ending seems reminiscent of a Way of the Cross. To make matters worse, one cannot help but feel an inevitable sense of dislike for the main character, a petit bourgeois saved by the grace of the 'poor commoners'. Most of the characters generally appear as caricatures of other performances stolen here and there. Some come close to the ridiculous like Ruby Thewes or Bosie. Excluding the film's set design and some performances by untouchable actors, Hoffman and Gleeson among them, Cold Mountain is basically an inexplicably overrated movie. The vision can end after the first quarter of an hour with the Battle of the Crater, which, contrary to the rest of the film, deserves for its accuracy and impact.
A sentimental drama so stuffed with frills and absurd tear-jerkers that it is mostly laughable. The great production and 'ready-made' pace make it a watchable film all in all. But the end result is mostly forgettable for those with good taste.
A cheap comedy with no rhyme or reason, poorly acted, and remotely funny. Absolutely avoidable.
Yet another low-budget product of the 'great' Italian independent cinema. Once again the social criticism of rich villains with neither skills nor talents. If not that the subject has been treated infinitely better in previous decades and that the story is of a disarming banality, painful dialogue, actors (potentially good) are directed in a ridiculous way. Dear Virzì, go back to doing what you were appreciated for in your early days and leave this stuff alone.
Benvenuti in casa Gori is a film that deals with tired topics in a highly ambiguous way. A drama with comic intentions that makes one neither laugh nor cry. The narrative rhythm is shattered and tends to make everything rather boring. Apart from the occasional amusing sketch, it is a work that leaves one really uncomfortable. Probably only Tuscans can appreciate it.
Pulling the rope of populist sentimentality on the big screen at a certain point risks snapping. And the sound of the thud is likely to be very similar to a ‘plof’ from when you're sitting in the potty. An embarrassing attempt to emulate staggered historical films that retrace epochal events in Italian history as immense directors have done in the past. Nothing more, nothing less.
Muccino, do us a favour: extinguish yourself.
The summer story of a middle-class Italian family in the early 1970s in a crisis coinciding with the historical period. From fragmented pacing and a cut-and-paste of seemingly rambling events, La circostanza has the courage to be innovative but the result of being difficult to follow and appreciate. Olmi's first flop.
Kona fer í stríð's laudable intent to deal with topics as sensitive as they are urgent, such as climate change and adoption, fails miserably. The film results in a confusing and inconclusive potpourri of content that makes for progressively irritating viewing. Icing on the cake, the choice of doubling Halldóra Geirharðsdóttir to play the protagonist and her sister is embarrassing. The only merit of the film is the spectacular landscapes of Iceland.
The story of an 11-year-old girl and a 29-year-old guy who 'fall in love' with each other. A brave subject that is unfortunately dealt with in a highly superficial and inconclusive manner.
A mostly pointless sentimental comedy with no rhyme or reason. It neither makes you laugh nor cry. The only funny moment in the whole film is the brief scene of Calogero in a truck on his way to Naples.
Ferreri's second feature film has the laudable and courageous intention of showing the effects of the Spanish Civil War on young people with a typical neorealism approach. Unfortunately, only the intention is praiseworthy, as the end product is a film with a fragmented, confusing and largely inconclusive narrative.
A drama so exaggerated that it is sometimes comical. The pace of the film is headache-inducing. Van Dormael's intention to stage some grotesque scenes (which, taken on their own, are of great artistic value) in a generally tear-jerking context is incomprehensible. The only note of merit goes to the two very young lead actors who prove to be far better than their older colleagues.
