I'm Not Scared (Io non ho paura) (2003)
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as Filippo's mother
as Filippo's Mother
Critic Reviews for I'm Not Scared (Io non ho paura)
A lyrical throwback to such movies as René Clément's Forbidden Games (1952) and other works of the humanist European cinema of a half century ago.
The director reminds us that not all films require a breakneck pace or ridiculous twists to be effective.
The performances are all terrific. Each one suggests an entire story that we can only glimpse.
An accomplished and evocative thriller from Italy.
An Italian drama that restores the overused phrase 'loss of innocence' to something meaningful and memorable.
A good story told with energy and efficiency.
Audience Reviews for I'm Not Scared (Io non ho paura)
Well i'm shocked as to how well liked it is. I found it to be an unexciting, predictable movie start to finish! I wouldnt watchit or recommend it!
Part suspenseful thriller and part coming-of-age drama, I'm Not Scared is a minor masterpiece of film making from director Gabriele Salvatores. It's a story of crime and courage, a story of a young boy's realization that there is evil in the world and those nearest him are not only aware of it, they may be a part of it. Not a perfect film, but the flaws are completely forgivable.
This magical Italian rite of passage movie manages to do some difficult things very well but is less successful when bogged down with the demands of conventional storytelling. When it's going nowhere in particular, just showing something vaguely sinister chipping away at a boy's innocence, the film works brilliantly. However, when the plot asserts itself and that something sinister is defined - a kidnapping tale with a threat of John Paul Getty III-like aural mutilation - director Gabriele Salvatores' handling of the resultant thriller element is much less impressive. Worse still, for a film that I felt could go absolutely anywhere when it burst confidently onto the screen, things become disappointingly predictable towards the end. On the plus side, the child performances - so crucial to the success or failure of the movie - are excellent, especially those of Giuseppe Cristiano (Michele, the boy) and Giulia Matturo (Maria, his younger sister), and the Southern Italian countryside is simply breathtaking. My favourite moment is when Michele confesses to his sister that he cannot see her imaginary dog playing in the fields behind their house, and in the very next scene we see the combines rolling over the hill to harvest the wheat crop; we know with heartbreaking certainty that something intangible yet vitally important is gone forever, and that things can never be the same again for Michele.
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