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  • Love and Bullets

    Love and Bullets


    Camorra hitman is charged to dispatch a nurse who has seen too much but he learns she's the girl he was in love with when they were both kids. 4 years after Song 'e Napule, the Manetti Bros. go for a full-fledged Neapolitan crime musical that's hip enough to seem way more bold than it actually is. Overlong but overall enjoyable, "Ammore e malavita" won 5 David di Donatello and had critics raving, although its commercial outcome was lukewarm.

  • Ma che bella sorpresa

    Ma che bella sorpresa


    A high school teacher recently dumped by his wife is seduced by a sexy neighbour which is too perfect to be real. An unexciting Italian remake of Claudio Torres' brilliant The Invisible Woman tries to cash on the success of "Benvenuti al sud" (also a remake) by casting two of that film's leads (Bisio and Lodovini) and setting the story in Naples.

Popular reviews

  • We All Loved Each Other So Much

    We All Loved Each Other So Much


    Three war-time friends, and the girl they all fall for, live through 30 years of Italian history. Originally designed as a homage to Neorealism, a film that grew into a masterful compendium of Italian Comedy. Scola and co-writers Age and Scarpelli pack more ideas into it than most filmmakers produce in a lifetime and yet the film unfolds naturally combining sheer emotion with an accurate (and, to this day, unsurpassed) map of the way the social texture of Italy evolved after WWII. Stellar cast has never been greater. A cornerstone.

  • Hard to Be a God

    Hard to Be a God


    Hardly fathomable adaptation of Arkady and Boris Strugatsky's philosophical Sci-Fi novel lures viewers into a watching tour de force of constant, ever-changing, chaos in motion. A 3-hours, black and white exploration of decay taking place in a muddy, rainy, alien medieval planet where characters wander aimlessly, expel body fluids, and invariably get interrupted even in the most menial tasks. An extraordinary, irritatingly challenging, film experience that requires some radical film-watching commitment in order to be enjoyed.

    Previously filmed by Peter Fleischmann in 1990: