The Hand of God

Ah be sorrentino hocam kusur yoktu filmde kusur. Ama niye son yarım saat sakız gibi uzattın ki. Çok gereksiz olmuş. Ama bu filmi kötü yapıyor mu? Hayır. Hele burdaki aptal oğlu aptalların saçma sapan don't look up isimli levent kırca skeciyle aynı puanları hatta daha düşüğünü vermesini haklı çıkartmıyor. Dünya gerçekten gerizekalı kaynıyor. Tiktok videosundan hallice spiderman ile bu film aynı metascore puanlarındaysa ne konuşuyoruz ki?

Its family portrait (first half) is better than its memoir (second half). The vibrant humour and energy of the portrait is missed in the lonely and symbolism-reliant memoir, which never seems to engage deeply with its own elements (I guess he wants to be a filmmaker just to ogle women?). The terrific family picnic is what will stand out to me, and the image of the city at night, not the somewhat indulgent conversation about honest filmmaking that takes place there.

Flirts with masterpiece territory for about an hour as Sorrentino fills his frame with an ambling group of eccentrics and just lets them loose to play within some gorgeous Italian scenery, mixing uproarious comedy and poignant heart-felt moments with perfect balance. The moment real tragedy strikes, the tone and focus of the film also shift and Sorrentino’s autobiographical indulgences start to become a little wearying; thankfully a star-making performance from Scotti holds it together.

This is Sorrentino's Amarcord. He tell us about his sexual awakening. He tell us with an open heart about very personal facts of his life, in a fictionalized way. I don't know if i wanted to know about it.

A lyrical coming of age story that's full of warm humor and nostalgia...until harsh, painful reality starts to creep in. The tonal shift threatens to capsize the film, and there are a couple brief, baffling detours, but it definitely stands out among the many films of its kind.

I was extremely fond of the first half of Paolo Sorrentino's autobiographical portrait of his teen years in Naples in the 1980's. It's an extremely amiable and somewhat formless depiction of his family ... a depressed, sexually aggressive aunt, his foul-mouthed grandmother, his older brother (an aspiring actor), his teenage sister who never leaves the bathroom, and his parents ... which also loops some of his neighbors.

Checks all (!) the boxes for me, and yet, doesn't come together completely.

An homage to Fellini, football and film. What's not to like?

How to fool everyone with aesthetic frames filled with pump-void grotesque nothing, by Paolo Sorrentino. I just can't stand his way to interprete movies and to depict bidimensional characters. Is this a Fellini homage? No way, it's quite a botched attempt to satisfy his ego to be compared to Federico

wasn't expecting to like this one but the contrast between sorrentino's standard commercial-like aesthetics in the first half and indie formula around singular explorations of the character in the second half works really well. is it really pop with over-the-top sentimentalities? yes! but that's why this works.

Personal, beautiful, alive. Prime Sorrentino.

Possesses more of this director's virtues than he has shown in other works of the past few years, but when the story shifts into a tragic key, somehow it seems a bit lacking, despite the very personal nature of what's being told.

Watched twice: before and after going to Naples.

Poorly written, boring film. I don't think I've ever seen a film as awkward as this one. Cinematography and shots are beautiful, but that is the only redeeming quality in this pretentious nothing-to-say mess of a film. Don't waste your time.

minhas pazes com sorrentino

Luisa Ranieri is a bone fide star in this. And Sorrentino's direction is also terrific (so even though I don't have a great affinity for his work, I definitely do appreciate the high quality of his craft).

Tek başına kalmak. Napoli'de yaşayan genç oğlanımız, ailesiyle mutlu bir hayat geçirir. Ta ki ölüm ayırana kadar. Paolo Sorrentino'nun çocukluk anılarını anlattığı film. Eğlenceli olduğu kadar çok buhran. Hatta acıklı ajitasyon. Filmin öyküsü iyi olsa da, oyuncuların çok rutin oynaması. Sanırım filmin sonundaki yönetmen biçimi değiştiriyor. Filmin sonunda, küçük keşiş. Hayat devam ediyor. Ye kürküm ye.

Sorrentino films are always special for me and it was wonderful to live in his nostalgic memory. This film balances its lessons and contradictions with grace and his signature universal understanding.

Completely baffling filmmaking featuring a set of loosely connected scenes whose meaning felt almost entirely lost in translation.

Sorrentino'nun hayatı, Napoli, Maradona, 90lar, Fellini... Bunlara dair ortalama fikri olan biri için güzel bir film.

Autobiographical Coming-of-age suck because they are too nice towards their protagonists.The films are usually based on how the rest of the world (parents, friends, mentors, competition) doesn't realize how great, unique and talented the protagonists is. If the main character had more edge, faults or character this film would have worked.If everyone around the passive Fabietto are more interesting than him that's a problem. The problem is the demand for the niceness of the autobiographical film.

When you order Timothée Chalamet on Wish