Didactic and dreamlike or nightmarish, this is the stylistic characteristic of Bellocchio (after Fagioli?), often effective, sometimes repetitive. For the didactic part and also considering the length of the film, perhaps it would have been more appropriate a television format, if not Rossellinian, at least the one to episodes of Sorrentino. For the underlying ideology, the post-iconoclastic phase of "Fists in the Pocket" ("I pugni in tasca", 1965) insists on distinguishing between bad and good family models, Riina vs. Buscetta and of course the others against the Bellocchio clan: to the son Pier Giorgio his father progressively dedicates an increasing number of shots, close-ups, lines of dialogue, until making him the only one similar to Favino, almost the Falcone's successor. Mah. (Mauro Lanari)

Dwayne Johnson tries to get us to take wrestling seriously with a biopic and instead fails as much as his career as a muscular people-pleaser and manages to do worse than Aronofsky ("The Wrestler", 2008). (Mauro Lanari)

"Something is rotten even in the state of Bulgaria": Shakespeare already knew it, it is known everywhere and since forever; moreover, with a style steeped in sarcasm and realism, the film is lost in a foregone parable in the results and in the performance. (Mauro Lanari)

I'm not a connoisseur: does such a thing already exist on Pornhub? (Mauro Lanari)

"Crazy Little Thing Called Love". Stupid litte thing called film. Yet the win-win ending is rare and precious. (Mauro Lanari)