Like most of Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
Roberto Andò takes the form of a classical whodunit and bludgeons it with naïve indignation and sanctimony.
It ultimately lacks the vision and conviction to honestly and meaningfully dissect a contemporary political movement’s deep-seated structural malaise.
The film puts too many elements into play, which means it ends up darting hopelessly between a series of underdeveloped storylines.
This gorgeous, yet slimly supplemented, release places the film in the ideal cultural context: as last year’s ultimate art-house party movie.
The film succumbs to its own self-delusions of moral/political grandeur.
The film attests to Bellocchio’s technical mastery and formidable empathy.
It may not deserve the Criterion treatment, but fans will be pleased by the solid audio/video treatment it has received.
Matteo Garrone’s gangster-as-capitalist view never softens its focus a la Traffic or turn its executions into exploitative set pieces.