Mary Poppins Returns
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All Critics (22)
| Top Critics (3)
| Fresh (17)
| Rotten (5)
There are enough fantastic sequences in Loro, and another great performance from Servillo, but this is a slight disappointment given what we've come to expect from Sorrentino.
"Loro" is the definitive Paolo Sorrentino film to date. It's brash, stylish, and silly. It oscillates back and forth between horny and human, profound and misguided. It's a glorious mess.
A richly inventive, ferocious feast of satire and vulgarity.
What the heck is really happening in the first half-hour or so? And why should we care?
[Paolo Sorrentino] embraces the corruption, the vulgarity and the extravagance with a certain tenderness, rather than envy.
....a memorable piece of work.
Sorrentino is an exceptional director and Servillo is a most remarkable actor; once again these two major talents have created a film of considerable impact, even if this time their subject remains frustratingly elusive.
...why render it all over again, especially when the whole scenario is left to fizzle out, and is never revived?
A monumental exercise of incoteninence, both argumentative and stylistic, that draws from those Fellinian sources that Sorrentino frequents so much. [Full Review in Spanish]
In other words, Loro is a film that shouts its intention to mock Berlusconi loudly while surrendering again and again to the seduction of his obscene imaginary. [Full Review in Spanish]
Berlusconi is reduced to what Sorrentino and [actor Riccardo Scamarcio] suggest in the best scene of the film: an apartment salesman. [Full review in Spanish]
It's like changing channels between a Tinto Brass movie and My Dinner with André.
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