Lovesusti The Worst Film Ever

Ensofter Overrated and overhyped

Matialth Good concept, poorly executed.

Edison Witt The first must-see film of the year.

ellkew An impressive and stylish film. Rizzo as Geremia the main character is marvellous. He dominates every scene. His simian style shuffle from side to side, his carrier bag swinging gently from side to side hanging from his bad arm. It is through his eyes we see the world and so the criticism of the female flesh on display seems a bit naieve. It's a stylish film shot through with Sorrentino's flamboyant flourishes of camera movement and against the grain cutting, almost too abrupt sometimes. I enjoyed this as much as I enjoyed the Consequences of Love and I recommend both of them. There are moments of revelatory dialogue on the nature of existence which doesn't offend or get tied up in long soliliquay's and quite odd scenes offering a glimpse of darkness in this man's tarnished, cynical world where everything, even a kitsch figurine, has a price. It's an icy film and I did come away from it not really sure what I had learned about the characters or what it was trying to say. I was a little disappointed with the end but that said it's offbeat in so many ways I forgive it it's flaws.

come2whereimfrom In a word, weird form the outset. From the opening creepy noises and extreme visual stimulation to the random cuts and bizarre set pieces 'The Family Friend' is nothing if not captivating. Its directed superbly by Paolo Sorrentino, whose last film the 'The Consequences of Love' should give you some idea of his visual style and flair, add to this the great cinematography, brilliant use of music and the twisted central performance of Giacomo Rizzo as Geremia and you have a truly excellent if not a little disturbing movie which is part Lynch, Part Fellini and all original. Geremia is a seventy year old tailor which is actually a cover for the fact he is a loan shark. Lonely and sleazy he prays on the needy and during the loan deals poses as a family friend to surround himself with people. One such family borrows money for their daughters wedding and Geremia becomes self appointed helper and starts arranging things for the young couple. Eventually he falls for the bride to be, a winner of the local beauty pageant, and the film becomes a kind of beauty and the beast tale. She is the gorgeous young girl overly fond of dancing and he amongst other things is a seedy, beastly rapist. The films characters are pretty much all unredeemable and it comes across like an Italian 'League of Gentlemen' with its dark humour and strange set ups. The music adds to the weirdness by ranging from Anthony and the Johnsons to classical and country and western. Just like 'Hidden' from last year the film leaves loads of unanswered questions and loose ends but that adds to its deconstructed nature and doesn't detract in anyway from the main story. Its in the smaller things that this film shines like when everyone takes their own chairs to the beauty contest as 'the sponsor and provider of seats pulled out at the last minute' or how Geremia's carrier bag swings from side to side over his plastered arm as he waddles along in schoolboy short trousers. This film won't be to everyone's liking, it is almost certainly an acquired taste, but those that can get under its skin won't be disappointed and will love it for all its creepy eccentricities

tiarings This film is not the great piece of cinema many critics/ viewers seem to think it is or want it to be. It has the occasional effective moment/ sequence, and the use of sub-bass was quite original and evocative in the sound mix. However, it's essentially trying to be an art-house film with enough mainstream/generic or light-hearted moments to appeal to your average non-art-house-watching, can't-handle-it-too-grim-or-arty cinema goer. Therefore, it's hugely flawed. It's not really that dark, for instance, despite a bit of dark posturing, and the more likable/ morally "okay" characters win out in the film's irritatingly moral conclusion. The bonding between the bingo-playing old bat and the cowboy sidekick was almost sickening, and was completely unnecessary if the film wanted to maintain a vaguely black/amoral tone (which it did initially appear to be striving for). I personally find the Coen brother's work to combine humour and a an enjoyably surreal darkness far more effectively, and to maintain a more amoral tone. It does not bare comparison to Fellini at all, for one thing there's none of that crazy visual bravura in the mis-en-scene here, and most of time and there's a deeply middle-brow quality to narrative proceedings. Unlike the great Italian films of 60s/ 70s (Visconti, Antonioni etc) the film is quite uninterestingly shot most of the time, with an overuse of extreme close-ups and close-ups, and with a very standard sense of pace in the editing. To be honest, even Dario Argento is far more visually exciting.The inclusion of the thriller plot towards the end of film simply does not work that well, and feels contrived and somewhat unengaging: the film suddenly decides it no longer wishes to be a slightly arty character-study of a despicable old money lender and tries to be David Mamet to get the audience "on the edge of their seats" - it had the opposite effect for me ultimately. The supporting characters are rubbish - the cowboy friend is like something out of a bad "quirky" short film and the super model girl has no *beep* personality at all... The old woman who's addicted to bingo? God, it's almost Father Ted territory and without the madcap humour or silliness to make such stereotypes genuinely funny.Some of the music was quite well-used however, and it is still better than another moving/ funny film about the Holocaust or films about small boys and their relationships with wise old men who work in cinemas.

Cliff Hanley Paulo Sorrentino, with The Consequences of Love, proved himself to be an elegant explorer of twisted obsession.This follow-up is set in what was once the Pontine Marshes, near Rome. The protagonist Geremia di Geremei (Rizzo), an ageing tailor and loanshark, employs a couple of heavies, one of whom supplies the history in seconds: while putting pressure on a couple of borrowers, he suddenly turns and slaps the wall behind him. "A mosquito! All this was swamps before Il Duce!" - then smiles broadly at the suitably startled face of the 'customer'.Geremia, who would come over as nothing but scruffy but for his affectation of wearing his jackets and coats over his shoulders like a grand impresario; but who spends the whole film with one arm in a cast, hinting at some previous shenanigans, scuttles (there's no other word for it) between his 9 to 5 ragtrade shop which is obviously more than a mere money-laundering front, and the smelly little flat which he shares with his bedridden mother, who spends all her days glued to the TV. Not your typical hood.In his sweatshop he accepts entreaties from desperate low credit citizens - much of his business is for weddings. He puts on a mock-uncle affection for the potential brides, and they try not to gag as he oozes all over them. (It later becomes apparent that he is actually carrying on the family business.) He and his customers have a tacit face-saver, in referring to him as a 'friend of the family'. When he and his 'boys' visit one late-paying couple, the jewellery and kitchen appliance they take are not quite enough, and he returns for further tribute from the wife in the form of a perverse sexual / financial / sentimental action, a deeply symbolic scene that seems to hint at a lot about his character. Some friend.Another scene where disparate elements make their own logic is where the beautiful Rosalba (Chiatti) wins a beauty contest and goes into her winning dance routine, hot and writhing but against limpid and cool synth music. Her subsequent wedding becomes the first of Geremia's shake-ups: her father, although disgusted with himself, unable to handle the payments necessary to cover the costs of the celebration, engineers an opportunity for the tailor to be alone with the bride, ostensibly to repair a broken shoulder-strap on her wedding-gown.The next big move is when Geremia, against the advice of his mother, takes on the loan of a lifetime; the lure of big business and the barely credible relationship between this latter-day Gollum with the feisty Rosalba explode the top end of his life, putting an end to his extended childhood.Practically everything that happens in this film has the apparent weight of symbolism, and doubtless some parts are, in fact, symbolic. Although its morbid purulence may leave you feeling a need to head for the wash-basin, it's fascinating throughout for its constant digging below the surface of life to examine the linkage. And perhaps as a study of the survival of the fittest. CLIFF HANLEY