The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (22)
| Top Critics (6)
| Fresh (21)
| Rotten (1)
| DVD (1)
One of the most quietly revolutionary works in the history of cinema, Roberto Rossellini's third feature starring Ingrid Bergman (his wife at the time), from 1953, turns romantic melodrama into intellectual adventure.
You might not want to bring along someone you love, because you could end up leaving the theater alone.
There is real greatness in this movie.
Rossellini stealthily ushers us towards a sense of heady affirmation so primal that 'romance' isn't a strong enough word for it.
Voyage to Italy is the kind of movie that makes those unhappily in love feel understood. And even if that's not you (congratulations), it's still possible to groove on Rossellini's stranger-in-a-strange-land psychodrama.
Voyage to Italy is close to watching actual strangers suffer loneliness despite being together. It can leave an aching bruise, but only if you're paying attention.
The future Nouvelle Vague filmmakers of Cahiers du Cinéma knew they were seeing a landmark... and Jacques Rivette in particular rose eloquently to its defense; Martin Scorsese took up its cause later on as a personal favorite.
Despite all the irritating behavior exhibited by both spouses in Journey to Italy, Roberto Rossellini's film is ultimately a work of great compassion.
Journey To Italy is a searing portrait of love turning sour under the Neapolitan sun and a bold adventure in a new kind of filmmaking.
If one accepts the narrative simplicity and that the journey is both physical and spiritual, the film offers many rewards.
Rossellini's bitterly acute account of the death throes of bourgeois marriage in general and his own marriage to Ingrid Bergman in particular.
In the end the film magnificently justifies its classic status as an affirmative statement about relationships.
Ponderous direction doesn't help but the two leads are so talented that they make this pedestrian drama worth watching.
"Voyage to Italy" starts with Alex(George Sanders) and Katherine(Ingrid Bergman), a wealthy couple, traveling from England to Naples to see Burton(Leslie Daniels) about settling a family estate there. That's only the beginning of the journey, at least emotionally, as she thinks he could use the trip as a break from work but he only intends to stay as long as necessary to complete the deal. For the record, they seem like one of those mismatched couples who got married only after seeing there was nobody else left and said why not.
But as radiant as the human actors are in the movie, they are not the stars of it. That comes down to the local scenery and history of Naples, where despite all the death, both ancient and recent, the locals live their lives to the fullest which Alex and Katherine have trouble adjusting to, and not just because they drive a car with a steering wheel on the wrong side of the car. And that's pretty much it for any kind of story here which is unsentimental to a fault, at least until the movie's forced ending.
An intimate and involving drama about an unhappy couple facing the collapse of their marriage while on a trip that only exposes their mutual discontent. It feels sad and real, but it is a pity that the story ends in such an easy and artificial way.
Innovative narrative structure. Italy itself is a predominant character in this subtle film. A precursor to Antonioni's alienation trilogy.
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