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  • We Accept Miracles

    We Accept Miracles

    Corporate downsizer gets laid off himself, moves back to his small town and changes everyone's lives by faking a religious portent. Relying on subpar puns, lukewarm slapstick and glossy postcards from Campania, Siani's comedy is overlong, predictable, self indulgent and apparently attuned to the taste - or lack thereof - the majority of Italian moviegoers who pushed it at the very top of that year's box office.

  • The Place

    The Place


    Reading from a big notebook, a man sitting in a diner fulfills the desires of visitors but asks them to perform demanding tasks before. A faithful remake of the web series "The Booth at the End", originally released in 2-minutes episodes, "The Place" preserves the metaphorical force of the project but, while trimming at least some of the most blatant repetitions, it struggles to sustain interest all the way through a single, 116-minutes, session. Genovese does improve on the original with a better, more enigmatic, ending.

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: