User Score

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. Aug 31, 2014
    Coming off of the plane from Paris, Woody Allen takes us into Rome, Italy on a typically Allen-esque adventure with zany and hilarious characters. Although, small in the shadow of Midnight in Paris, Allen proves his continued skill.
  2. Jan 13, 2014
    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 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
  3. Aug 22, 2013
    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. Expand
  4. Aug 13, 2013
    Delightfully funny! The characters in this movie are the highlight and this talented cast really brought out the best in them. Penelope Cruz left me in tears, from laughter, of course. I had to read the English subtitles throughout the movie and still found it hilarious. Good one, Woody, good one!
  5. Jul 20, 2013
    This movie has its flaws like most movies but I liked it for the most part.The things I didn`t like are mostly a couple actors Ellen page and Jesse Eisenberg. I hate every movie the two are in, so in the same movie ouch, but they did ok. I liked where the movie is located and found most of it interesting.I liked the parts with Alessandra Mastronardi, but the best was the character Roberto Benigni played really funny stuff lol Expand
  6. Mar 22, 2013
    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.
  7. Jan 27, 2013
    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, 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
  8. Jan 21, 2013
    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.
  9. Jan 20, 2013
    A pleasant postcard from Roma, with interesting conceits. But overall, the story meandered all over the place without any satisfactory resolve and at times grew tedious. Penelope, Ellen and Alec played their usual selves. The opera singer (an actual opera singer, a famous tenor) was awesome. Woody inserted a few on-liners for himself, that made me laugh, but could be considered clumsy. A harmless and entertaining enough way to spend a winter's night and no one's brains got blown out which is always a plus. Expand
  10. Oct 3, 2012
    A cena de abertura de Para Roma com Amor evoca imediatamente Mighty Aphrodite (1995) e os seus peculiares separadores, entoados por um coro da Grécia antiga. Não passa de uma leve evocação, mas as histórias introduzidas por aquele polícia sinaleiro dá o mote para o tom descontraído que o filme adopta, num estilo ligeiramente aproximado das novelas do Decameron de Bocaccio. O filme é no fundo uma antologia de várias histórias que em nenhum momento se conectam, mas que se encontram conectadas por um tema: um deles, o contexto espacial da cidade de Roma (não caiamos em críticas desnecessárias: é obviamente feita pela visão de um estrangeiro e, logo, repleto de lugares comuns da cidade), o outro, bem mais complexo, o culto da celebridade e das aparências. Aparentemente muito mais inconsequente e ligeiro que os seus trabalhos anteriores, a crítica que Woody Allen faz neste trabalho é, apesar de por vezes formatada e quase moralista, muito maior. Ao construir a comédia com base nestas pequenas histórias, cria também uma crítica enorme à sociedade sempre com as habituais temática do cineasta alienado, artista, intelectual desajeitado, hipocondríaco. O que não deixa de ser curiosamente, num filme onde o cineasta se retrata também como actor: vermos múltiplos Woody Allen nas personagens de cada vinheta é estranho (algo mais habitual nos filmes onde não actua), mas não deixa de ser também um processo curioso de um autor que se desconstrói e se refugia na ficção que escreve (temática que curiosamente tinha abordado com mestria em Deconstructing Harry).

    O que temos então em Para Roma com Amor? Uma série de gags, uns mais bem conseguidos que outros, com uma ligeireza pouco habitual no cinema de Woody Allen, mas curiosamente bem simpáticos de assistir e pouco cansativos. Um tipo de humor que parece ligeiro demais ambientado num cartão-postal cliché, repleto de um humor non sense e surrealista que é simultaneamente delicioso, mas também severamente crítico da sociedade contemporânea. Essa crítica pode ser mais visível no retrato de um Roberto Benigni - actor ícone italiano, da perspectiva de um estrangeiro - com o seu humor mais físico, mas com uma história tão interessante e oportuna, especialmente quando olhamos para as revistas ou para os especiais televisivos de "última hora". Mas é também notável naquele que é provavelmente a melhor das vinhetas, protagonizada pelo próprio Woody Allen e Judy Davis e um cantor lírico que só é bom no chuveiro (afinal todos cantamos bem no chuveiro) e que é a síntese de todo o filme. Ou aquele em que Alec Baldwin é um grilo falante, uma espécie de consciência física, numa história em que Ellen Page parece a síntese do pseudo-intelectual, mas que simultaneamente parece partir em defesa da mensagem do cineasta. E embora recicle morais cliché, com personagens unidimensionais e estereotipadas (admitimos), é também um filme consciente do seu carácter cartoonesco e da sua entoação moralista e de quase fábula. Mas é também um cineasta despreocupado da apreciação externa, mas que continua crítico como sempre foi e que se faz valer da própria história para se retratar, como por exemplo naquela excelente troca de diálogos entre duas personagens (interpretadas por Jesse Eisenberg e Alec Baldwin): «- Com a idade chega a sabedoria. - Com a idade chega a exaustão».
  11. Sep 23, 2012
    Underestimated, at the age of 76 it's amazing to see that he's still acting and directing. Funny, entertaining and refreshing it seems as though woody allen's witty story writing skills are certainly still there. All of the stories where very amusing and an accurate portrayal of the italian culture(I'm italian). Definitely worth a watch. My only criticism if more of the character's stories intermingled more for example it would have been amusing to see woody allen act along side Roberto Begnini. Expand
  12. Sep 10, 2012
    This review contains spoilers, click expand to view. In one word, "Wow." Unlike some of what we see from Woody Allen, this won't be one of his memorable films that we will look back at in years to come. Despite that, however, the creation that Allen gave us is absolutely touching on a personal level.

    This lovely film guides us along with the stories of four groups of people. With these groups, we are able to experience their love, lies, shenanigans, dreams, and problems.

    Without wanting to give too much away, I'd like to talk about Alec Baldwin's role in the movie. I'm somewhat unsure of where he fits and why he fits. Although he falls in line with one of the stories in the movie, he himself is also separate from it.

    Part of me feels like that his character wasn't even real. Apart from a scene in the beginning of the movie, he is only ever acknowledged by Jesse Eisenberg's character in the film. He seems to follow Eisenberg and his two co-stars, who play his girlfriend and his girlfriend's friend, around but never actually has a physical interaction with the surroundings or people, except for Eisenberg. Despite all of this, however, it somehow works, and I find this story line to be the most interesting.

    "To Rome With Love," is definitely worth the watch!
  13. Sep 2, 2012
    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 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
  14. Jul 15, 2012
    Wasn't expecting much based on reviews, but love Woody, and loved this movie - even more than Midnight in Paris. A lovable cast of characters, unique and creative storyline, and beautiful views of Rome. All in all, delightful! >^..^
  15. Jul 10, 2012
    Woody Allen is never bad,but in To Rome with love he is not as good as he was in his previous film ,but it does not mean this movie is not good ,it is just not as good as it could be.
  16. Jul 9, 2012
    Woody Allen got me, and millions of other, back into his fold with
  17. Jul 9, 2012
    Woody Allen continues his tour of Europe (and its backers) with this latest foray to the Eternal City. It follows four stories (some in subtitles): young Americans in love, newlyweds who lose their way, an ordinary man who becomes famous and an undertaker who loves to sing opera. Each unfolds in fluid timelines with casts of well-known actors from both continents. The narratives start out with upbeat promise, but ramble on too long and lack sufficient humor to sustain the momentum. While it's not one of his best, it's fun to see Allen onscreen (giving himself the best lines). Of course, Rome is showcased to lovely advantage and the actors do commendable jobs. Despite the energy, it simply loses steam and stimulation. Collapse
  18. MJT
    Jul 7, 2012
    I agree with someone else who said that this may not be a better film than Midnight in Paris, but it is just as enjoyable, maybe more so. It's a very light comedy--and I think it's more clever than the critics are saying. The acting is terrific. I'd say give it a try and enjoy your short trip to Rome.
  19. Jul 2, 2012
    No question that Woody is on a roll lately. This is the funniest movie since "Whatever Works", and a throwback to his fantasy farcical films such as "A Midsummer Night's Sex Comedy", "Alice", or "Purple Rose of Cairo" (the latter being his masterpiece in this genre). I saw this at a theater that was probably 3/4 full and people were laughing loudly throughout. It was wonderful to see Woody in one of his films again and he got some of the biggest laughs himself. My only criticism, a small one, was the singing in the shower sequence on stage went on a little too long. The acting throughout was fine, and I wish Judy Davis would have been used more - she stole every small scene she was in as Woody's wife. Penelope Cruz was also a standout for me, along with Roberto Benigni. A must see for fans of Woody Allen. I also should mention the film was beautiful to look at. Filmed with a warm color palette, Rome looked exquisite, both the interior and exterior shots. Also, much of the film is in Italian with subtitles which actually added a realism that I enjoyed. Expand
  20. Jul 1, 2012
    LMAO with this movie, loved every character! Much better than Midnight in Paris, with much better cast and story (or should I say stories?) ! I really love the new Woody Allen and every movie he made on the last years. This one sits as my favourite along Whatever Works. The man is really stronger when it comes to comedy, and is great to see the man back on front of the cameras.
  21. Jul 1, 2012
    This is an enjoyable movie, although not a great one. An average Woody Allen movie is much better than many of the movies critics rave about. There is no one who can play Woody Allen better than Woody, and it is good to see him back. Some of the scenes are hilarious and the dialogue is sharp and witty. Plus as in most of Allen's movies, he really makes you want to visit the city in which it takes place. However, it was a little disconcerting that the 3 or so different story lines never came together, and just followed their own separate paths. Even though it probably isn't Allen's best film, it is certainly enjoyable and worth seeing. Expand
  22. Jun 23, 2012
    Much funnier than Midnight in Paris. It may not be a better movie, but the latter put me to sleep. The best way for me to describe the experience is "light comedy" - I certainly laughed, and Alec Baldwin's role is pitch perfect. Even though I like Ellen Page, she maied this one in. And Greta Gerwig is really just a space filler. Judy Davis does a nice job playing off of Woody. Great to see her in another film. Expand

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
    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
    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
    Four trivial stories, forced laughs: don't expect much more from Allen's latest postcard from Europe.