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It may still be early in the year, but “Mafia Mamma” is a definite contender for worst film of 2023. This vapid comedy (from director Catherine Hardwicke) feels like it was crafted by a soccer mom groupthink, with a ridiculous fantasy story that’s struggling to be hip and edgy. It’s a truly terrible movie that’s a complete waste of time for everyone but those who have the absolute lowest of low standards when it comes to their choice of entertainment. Like most women, American mom Kristin (Toni Collette) has a lot on her plate. She keeps her home running despite dealing with the double emotional punch of her son going off to college as well as discovering that her cheating husband is having an affair. Things aren’t going so well when she gets a mysterious phone call with a shocking message: she has inherited her grandfather’s mafia empire in Italy. Guided by the firm’s consigliere (Monica Bellucci), Kristin must gain the self-confidence to become the new leader of the (mafia) family business. Admittedly, the fish-out-of-water premise is a good one. The story outline is fine, but the execution is a debacle. Although they are working within a very broad parameter of mass appeal, the screenwriting trio’s (Amanda Sthers, J. Michael Feldman, and Debbie Jhoon) script feels like a struggle to stay above water. The writing talks down to the audience and narrative includes dumb scenarios that feel like a sad sack’s fantasy (the worst being a hunky local guy (Giulio Corso) who is instantly smitten by Kristin the second she lands in Rome, and the eventual “twist” that anyone with half a brain can see coming from a mile away). It’s also filled with tired Italian stereotypes and has such a strong desire to be a “cool and different kind of comedy” that it earns an R rating with bloody violence and a bunch of cursing. Even worse is Collette’s performance, which is an overblown exercise in desperation and overacting. Her take on the timeworn goofy, gullible American shtick feels like a huge stretch, to the point where her character becomes a weak caricature of a real woman. Kristin is a complete clown, even in a film that is trying (but not exactly succeeding) to tell a story of female empowerment. It’s a tragic waste of Collette’s talent. She is so much better than this. I can’t think of anything positive to say about “Mafia Mamma.” Even your worst enemy deserves better. ** By: Louisa Moore / SCREENZEALOTS / WWW.SCREENZEALOTS.COM**
A completely stupid comedy. It could have been an excellent film for having almost all the conditions for it. Scenography, photography, etc, etc. Catherine Hardwicke's direction is embarrassing. A senseless cinematographic expense, where it would have had the possibility of being a pleasant comedy and it is not for being "silly". it is a pity. SCORE: (0 to 10) : "2" ------------------- Una comedia completamente estúpida. Podria haber sido una excelente película por tener casi todas las condiciones para ello. Escenografía, fotografía,etc,etc. La dirección de Catherine Hardwicke da verguenza. Un gasto cinematográfico sin sentido, donde hubiese tenido la posibilidad de ser una comedia agradable y no lo es por ser "tonta". es una pena. CALIFICACIÓN: (0 a 10) : "2" .-
Reclusive gym manager Lou falls hard for Jackie, an ambitious bodybuilder headed through town to Las Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family.
After getting a green card in exchange for assassinating a Cuban government official, Tony Montana stakes a claim on the drug trade in Miami. Viciously murdering anyone who stands in his way, Tony eventually becomes the biggest drug lord in the state, controlling nearly all the cocaine that comes through Miami. But increased pressure from the police, wars with Colombian drug cartels and his own drug-fueled paranoia serve to fuel the flames of his eventual downfall.
Several lonely hearts in a semi-provincial suburb of a town in Denmark use a beginner's course in Italian as the platform to meet the romance of their lives. The film, which unspools the connections and family drama shared between the students, complies with several aesthetic principles of Dogme 95 movement.
A dreamy, ironic comedy about a generation of hedonistic students in the 1990s. Their favourite activity: talking endlessly. During a series of vacation days filled with sun-drenched naps, squabbling, waterskiing competitions and love-making, the amateur actors discuss their concerns in dry dialogues. For instance, semi-intellectual reflections on the end of time and how Michael Jordan plays basketball.
It's Ted the Bellhop's first night on the job...and the hotel's very unusual guests are about to place him in some outrageous predicaments. It seems that this evening's room service is serving up one unbelievable happening after another.
Between divorce, bad relationships and coming out as gay, a group of affluent friends realize that none of their lives are as easy as they seem.
A young boy's confusions lead him to a crossroads where he must decide who he wants to be.
The forthcoming wedding of Norma and Armando, a young lawyer, was supposed to be a great and wonderful event for the two, but everything went haywire.
Martina and Lupita are two housemaids who steal shoes and clothes from their boss Marcela, trying to impress Lupita's boyfriend. When Marcela founds out about the robbery, she and her friend Marifer go looking for them to retrieve her stuff and bring them to justice. "What did you tell God?" is a comedy that uses Juan Gabriel's songs.
A Hawaiian beach bum finds himself surrogate uncle to five orphaned children, helping them stay together, in this pilot movie for a TV series which turned up briefly in the spring of 1979 as "The Mackenzies of Paradise Cove."