User Score
6.2

Generally favorable reviews- based on 91 Ratings

User score distribution:
  1. Positive: 61 out of 91
  2. Negative: 7 out of 91

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  1. Jan 13, 2014
    4
    To Rome with Love surprised me because did not fulfill all the expectation that a Woody Allen film can produce. The whole movie idea is repetitive: stories that treat the topic of love and loss. The thing is that every chapter has some detail that is innovative, immerse in the classic Woody Allen irony. First we have the one of Jerry and his wife who came to Rome in order to visit theTo Rome with Love surprised me because did not fulfill all the expectation that a Woody Allen film can produce. The whole movie idea is repetitive: stories that treat the topic of love and loss. The thing is that every chapter has some detail that is innovative, immerse in the classic Woody Allen irony. First we have the one of Jerry and his wife who came to Rome in order to visit the future husband of their daughter; however Jerry is an imbecille opera director that put people singing dressed like mice. Second there is Jack and Sally who are tormented by the presence of Monica a kind of femme fatale; here it constantly appear John and we do not know if he is real or the conscious of Jack, because he shows up everywhere. Third it is the one of Antonio and his wife whose relation will be interrupted by Anna, a prostitute, and Lucas, a film star. Finally we have Leopoldo, a middle age man who from one day to another became famous. Despite all these things, this film do not show important topics of this director: like the neurotic-obsessive character, the escape from the reality, the feeling of belonging and fear of rejection. As always the script is hilarious, although some performances are deficient, except Ellen Page, Alec Baldwin and Penelope Cruz. Seem to be that Woody Allen lost the way. Expand
  2. Aug 22, 2013
    3
    The Yin and Yang of contemporary filmmaking: Woody Allen’s “To Rome with Love” and “Midnight In Paris.” The latter is a work of genius; the former is its polar opposite. Midnight in Paris was fluid, inventive and populated with memorable, believable characters; “To Rome With Love” was disjointed, static, and festooned with stereotypical caricatures, the most irritating of which was Mr.The Yin and Yang of contemporary filmmaking: Woody Allen’s “To Rome with Love” and “Midnight In Paris.” The latter is a work of genius; the former is its polar opposite. Midnight in Paris was fluid, inventive and populated with memorable, believable characters; “To Rome With Love” was disjointed, static, and festooned with stereotypical caricatures, the most irritating of which was Mr. Allen himself, who, in “Midnight In Paris,” had to good sense to stay behind the camera. Seriously, Owen Wilson does a much better “Woody Allen” than does Woody Allen. Even Alec Baldwin’s pompous mugging couldn’t save this one. Bottom line: don’t waste your time on this. Collapse
  3. Mar 22, 2013
    4
    This film was nothing less than a golden shower let loose on those of us who have loyally stayed by Mr. Allen, despite his deplorable behavior in the past. The movie was like some absurdly long screen test of nonsensical material, never intended for the big screen. The worst Woody Allen film ever made.
  4. Jan 27, 2013
    4
    This film is a little frustrating because followers of Woody Allen will wonder how to categorize it. Is it a romantic romp or a surreal critique of society? If a critique of society, this is Allen's society, and as always he is preoccupied with romance, the alienation of the artist, the elusive pursuit of scholarly excellence, and his own mortality. We have four romantic vignettes, theThis film is a little frustrating because followers of Woody Allen will wonder how to categorize it. Is it a romantic romp or a surreal critique of society? If a critique of society, this is Allen's society, and as always he is preoccupied with romance, the alienation of the artist, the elusive pursuit of scholarly excellence, and his own mortality. We have four romantic vignettes, the most entertaining of which is a young Italian couple, newlywed, who become separated for a day and absurdly end up cheating on each other on their honeymoon. The young wife is seduced by a movie star she has always admired, having watched him filming on the streets of Rome, and the young husband is seduced by a beautiful hooker, played by Penelope Cruz. Even this vignette is exaggerated and wearisome, but it is the best of the four and makes a stab at examining the essential nature of fidelity. Roberto Benigni, in another vignette plays Leopoldo Pisanello, a married, hard-working father of two who one day walks out his door and is suddenly famous for no reason. Journalists swarm him and want to know what he ate for breakfast. He is tortured and plagued by the media attention, and he just wants peace and quiet. But then, Leopoldo, who like Allen is a skinny, scrawny, average-looking guy, begins to enjoy the benefits of celebrity. When in bed with other women, he worries about being a married man. "Don't worry, Mr. Pisanello, the rules don't apply to you--you are special," he is told by a fan. That line would be of little consequence in another film, but in a Woody Allen film, it takes on new dimensions. When the media attention disappears as mysteriously as it arose, Leopoldo sighs that if he has to choose between being a celebrity and a poor unknown, it's better to be a celebrity. Unfortunately, Leopoldo never comprehends that the lack of substance behind his overblown celebrity constitutes the worst form of philosophical inauthenticity. In a third vignette, Alec Baldwin plays a voice of conscience telling the young Jesse Eisenberg, who is acting like the young Woody Allen, not to fall for Monica (Ellen Page), because she is a superficial, petty intellectual and worse--she's an actress, which means she is flighty, promiscuous, and unreliable, if not downright ditsy. Baldwin is always there making comments in the background, yet he is strangely invisible, one of the plot devices indicating the film is supposed to be magical realism, with surreal elements, although it flits back and forth indecisively about its genre, as it does about its plot. Allen appears playing an American dad in Rome, and Judy Davis, an old-time member of Allen's entourage, is his wife. The fourth vignette is Alison Pill's role as a tourist who meets a gorgeous Italian stallion at the Trevi Fountain. There is arguably a fifth vignette about an opera singer who can only perform in the shower, therefore the shower stall is put on the stage so that the populace can hear this angelic voice, no matter what it takes. How do all of these vignettes tie together? They don't. But they all take place in Rome, the Eternal City, whose perpetuity is somehow supposed to make all of this cohere, and needless to say, it doesn't. (The musical score, which is intended to contribute to the Roman ambience, is annoying.) Nevertheless, the film is vintage Woody Allen, and if you're a fan who wonders what Allen had for breakfast, you'll wonder what he had for breakfast the day he sat down to write this screenplay. Expand
  5. Jan 21, 2013
    0
    What really sucks the energy out of you is the barrage of fast talking, overly emotional men, who never seem to be in control of anything. When and where did this image of men ever emerge ?
    A laugh is usually created by something you can relate to in real life. There is nothing in this movie that is anywhere close to real life.
  6. Sep 2, 2012
    4
    After a decent "Vicky, Cristina, Barcelona" and a good "Midnight in Paris", Woody Allen offers us a galore of stereotypes about Italy and the Italians boosted to unimaginable, absurd levels. Where are all intelligent and witty jokes that used to enjoy in his movies? Where is the well balanced humour? All I receive is a flawed picture of the Italian society, which seems to be full of idiotsAfter a decent "Vicky, Cristina, Barcelona" and a good "Midnight in Paris", Woody Allen offers us a galore of stereotypes about Italy and the Italians boosted to unimaginable, absurd levels. Where are all intelligent and witty jokes that used to enjoy in his movies? Where is the well balanced humour? All I receive is a flawed picture of the Italian society, which seems to be full of idiots and people obsessed with fame, not to mention a total lack of Rome itself. The atmosphere of this wonderful city was reduced to a few postcard-ish scenes that completely lack to portrait its soul. And what is Penelope Cruz doing there? She was included in the cast as a prostitute who doesn't even speak good Italian... When Carlo Verdone, a famous Italian actor from Rome, saw this movie in March, he supposedly said: "Allen knows nothing about Rome and the Romans". Unfortunately, he was right. Expand
  7. Jul 9, 2012
    2
    Woody Allen got me, and millions of other, back into his fold with
Metascore
54

Mixed or average reviews - based on 38 Critics

Critic score distribution:
  1. Positive: 17 out of 38
  2. Negative: 4 out of 38
  1. Reviewed by: Peter Bradshaw
    Sep 16, 2012
    40
    Baldwin has some brilliant moments as he icily dismisses Monica's posturing: his final closeup – heavy-lidded, undeceived – is fascinating and rather chilling.
  2. Reviewed by: Lorien Haynes
    Sep 10, 2012
    60
    More madness in the midday sun than Midnight In Paris. Baldwin, Cruz and Davis shine in a farce that overstretches itself into bellylaugh hits, but also some satirical misses.
  3. Reviewed by: Philip Kemp
    Sep 1, 2012
    40
    Four trivial stories, forced laughs: don't expect much more from Allen's latest postcard from Europe.