The LEGO Movie 2: The Second Part
The Walking Dead
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Mia Madre explores thought-provoking themes with director/co-writer Nanni Moretti's reliably skillful blend of comedy and pathos.
All Critics (84)
| Top Critics (22)
| Fresh (73)
| Rotten (11)
Moretti and his actors establish a kind of instant empathy that makes the story all the more affecting.
The general air of quiet intelligence throws the occasional outbursts of loud emotion into affecting relief, and John Turturro shines as the sort of unintentionally difficult star he doesn't seem like he'd be in real life.
Moretti knows how to orchestrate a good laugh when it's needed, but he can plumb more soulful, sorrowful depths, too.
Fortunately the movie-production scenes deliver plenty of laughs, courtesy of John Turturro.
The biggest reason to see the Italian dramedy "Mia Madre" can be summed up in two words: John Turturro.
This is a movie that doesn't quite come together, on both thematic and tonal levels, even though most individual scenes are competently acted and engaging.
Mia Madre invokes shades of Fellini's 8 1/2 with tale of a creator dealing with an existential crisis and is only amplified by some of the film's many dream sequences.
Margherita Buy is terrific in the lead, possessing a face one never tires of watching in close up, and Turturro delivers a wickedly funny portrait of an actor who cannot get enough of himself.
Operating with an impeccable sense of restraint, Moretti has created a work of great sincerity and unshowy insight.
John Turturro, over the top.
Moretti's touch is so sure that the movie often seems to be less than it is, but by the time it's over you might be surprised to find how much it has affected you.
Mia Madre may not cut fine facets on the gemstone of the theme, but still, it carries itself with integrity.
A very touching character study that perfectly blends a serious and suffocating drama with hilarious moments of humor that are never intrusive but instead helps shape the whole meta-narrative purpose of what Moretti wants to say, including his feelings about his own work.
Dreadfully maudlin and superficial piece, mainly just a star vehicle for the unconvincing leads, who are improbably cast and deliver their lines as if they are apologising to the audience because the actors don't believe any of it and wish they were elsewhere. One star for several of the support cast who manage to anchor the film in places.
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