POMO

The autobiographical story of a young Sorrentino? A nice film about growing up and the effect that a terrible family tragedy has on a young man’s adolescence. In the first half, even the quarrels and friction between the characters are lightened with typical Italian humour and the film is a likable view into a Neapolitan banker's family with funny characters and moments. The second half aptly depicts the emptiness and fumbling of a teenager who has had independence thrust upon him, without the support and love of his parents. Sorrentino with a clearly comprehensible story, without metaphorical embellishments or visual eccentricities. But also with a generally well-worn story.

A slick Hollywood adventure with nicely constructed ape characters featuring flawless digital rendering of their facial expressions. And a screenplay rich in plot development in a beautiful, varied setting. But toward the end, there are some things in it that don’t make sense, that don’t correspond to the preceding meticulous narrative and the building of relationships between the characters or their logical behaviour. It seems as if there wasn’t time to polish the last few pages of the script.

The story of Furiosa and her anticipated revenge, with more looks into the Citadel, is dramaturgically richer than the endless chase in Fury Road. Despite that, it’s not emotional even in the cruellest scenes and hints of feelings. And mainly it doesn’t have Tom Hardy. However, the character of Furiosa, who since childhood has been shaped by violence, inhumanity and filth, is a strong enough draw, the film’s dynamics are incredible from the opening scene and, together with the visuals and the details contained in them, those insane masks and costumes are absolutely amazing. A filmmaking highlight of scenography and creation of an original fantastical world. But I had trouble fully believing Chris Hemsworth as the demented villain.