Giovanni Marchini Camia

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For 54 reviews, this critic has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Giovanni Marchini Camia's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 You Were Never Really Here
Lowest review score: 25 Everybody Knows
Score distribution:
  1. Positive: 38 out of 54
  2. Negative: 2 out of 54
54 movie reviews
    • 74 Metascore
    • 75 Giovanni Marchini Camia
    In strict terms of craft, Donbass is an impressive achievement, but its heavy-handedness nevertheless feels inordinate.
    • 90 Metascore
    • 75 Giovanni Marchini Camia
    Although Long Day’s Journey is a far more polished work than Kaili Blues, it also feels a lot more calculated, often sacrificing emotional impact for ostentation.
    • 74 Metascore
    • 58 Giovanni Marchini Camia
    Garrone’s prowess as a director is still undeniable, and as far as nasty, gripping brutality goes, Dogman certainly delivers. If you’re looking for pulpy violence, you won’t be disappointed. Just don’t expend too much thought over what it’s all supposed to mean.
    • 62 Metascore
    • 67 Giovanni Marchini Camia
    As with the several other slight departures from realism, the artifice added to the story proves distracting. Without being successfully integrated, such choices fail to bestow the narrative with depth and pathos as intended, but only draw attention to the flimsiness of the its construction.
    • 59 Metascore
    • 83 Giovanni Marchini Camia
    The plot’s construction might be derivative, but its serpentine execution is flawless, providing enough crazy turns and zany characters to sustain an escalating momentum for Silver Lake‘s nearly two-and-a-half-hour runtime.
    • 41 Metascore
    • 83 Giovanni Marchini Camia
    Whether there’s any worth to be found in The House That Jack Built will depend on the viewer’s interest in delving deep into von Trier’s tortured psyche. It’s unlikely anyone will empathize with him and it’s certain many will find the film execrable, but those willing to indulge his excess are offered a wealth of fascinating material.
    • 75 Metascore
    • 75 Giovanni Marchini Camia
    The director’s characteristic humanism and rejection of easy judgments suffuses the film with sincere empathy – refreshingly, he acknowledges his own role in the entrenched patriarchal culture he’s critiquing, both as a man and film director. As such, when 3 Faces closes on a bittersweet note, the hopeful gesture of its closing image feels neither cheap nor unearned.
    • 83 Metascore
    • 100 Giovanni Marchini Camia
    It’s all insane and intoxicating, and what’s perhaps most remarkable is that, ultimately, the ugliness and excess is legitimized by being in the service of an elaborate and ecstatically realized celebration of dancing as an art form.
    • 68 Metascore
    • 25 Giovanni Marchini Camia
    Overwriting has been the constant weakness in Farhadi’s filmmaking, but here the writer-director — who should really consider passing scriptwriting duties on to someone else for a change — truly outdoes himself.
    • 66 Metascore
    • 75 Giovanni Marchini Camia
    The meticulous script by Lafosse and his three co-writers prompts the viewer to parse each of their sentences for underlying meaning and backstory, maintaining a necessary level of ambiguity that constantly shifts the perception of who’s in the right and who’s to blame.
    • 43 Metascore
    • 58 Giovanni Marchini Camia
    Polanski sleepwalks his way through the film, manifesting precious little of the skill and invention that fueled the slow-burn suspense and sinister atmospheres of superficially similar works such as Rosemary’s Baby and Repulsion.
    • 76 Metascore
    • 50 Giovanni Marchini Camia
    Although the animation effect is for the most part quite well-rendered and the animals are brought to life with impressive fluidity, there always remains a slightly jarring artificiality that prevents the viewer from fully sinking into the focused and contemplative spectatorship mode he’d intended.
    • 65 Metascore
    • 91 Giovanni Marchini Camia
    Desplechin has frequently acknowledged his debt to psychoanalysis in general and Lacan specifically, but never had he dared plunge as deeply into the mysteries of the psyche as he does here. [Cannes Version]
    • 84 Metascore
    • 100 Giovanni Marchini Camia
    On the level of montage, You Were Never Really Here is an expressionistic tour de force.
    • 72 Metascore
    • 75 Giovanni Marchini Camia
    A major issue is that the characterizations don’t reach very deep and in the absence of a robust context or involving narrative, it’s actually the references to Haneke’s previous films that flesh out what is otherwise a rather perfunctory condemnation of the bourgeoisie equipped with the usual symbolic connotations.
    • 80 Metascore
    • 75 Giovanni Marchini Camia
    Huppert and Kim are clearly having fun riffing off one another, each speaking in lightly broken English and conveying the pleasures of ephemeral encounters in low-stakes liminal spaces such as the one represented by the festival.
    • 86 Metascore
    • 58 Giovanni Marchini Camia
    Although Leviathan, Zvyagintsev’s previous and far-superior effort, was hardly a masterclass in nuance, a palpable sense of empathy and flashes of humor largely compensated for its lack of subtlety. These are sorely lacking in Loveless.
    • 78 Metascore
    • 83 Giovanni Marchini Camia
    Though not as successful as its predecessor, Loznitsa’s latest nonetheless confirms the director’s place of honor amongst cinema’s most vociferous critics of Putin’s kingdom.
    • 73 Metascore
    • 42 Giovanni Marchini Camia
    Even the most generous of viewers couldn’t come up with a legitimate reason for the vileness on show here, other than pure and simple sadism.
    • 75 Metascore
    • 100 Giovanni Marchini Camia
    Not only is Mija’s mission genuinely involving, but Bong and his co-writer, the author Jon Ronson, also get great comic mileage out of satirizing the Mirando corporation, rendering it a hilarious amalgamation of all of capitalism’s evils, as well as the A.L.F. and their oxymoronic credo of non-violent terrorism.
    • 39 Metascore
    • 67 Giovanni Marchini Camia
    Although the film is ultimately a celebration of Bell’s numerous achievements, which are inseparable from her sex considering the time and place, it’s nonetheless regrettable that her love life should serve as the narrative thread, especially since this thread is formed through an absence of relationships.
    • 58 Metascore
    • 42 Giovanni Marchini Camia
    Shedding little light on the circumstances of Elser’s failed attempt and even less on the broader history that surrounds it, 13 Minutes presents a redundant historical “what if” that leaves itself open to charges of relativization.
    • 82 Metascore
    • 75 Giovanni Marchini Camia
    It delivers a constant, exhilarating stream of elaborate and exquisitely photographed thrills that ends up largely compensating for the would-be profundity.
    • 76 Metascore
    • 83 Giovanni Marchini Camia
    Together with the camera’s constantly creeping pans and dollies — as well as the bilious green tinge that permeates each frame — the film thus generates a sense of unease that intensifies very gradually and unremittingly, reaching an extreme pitch by the time of its denouement.
    • 59 Metascore
    • 83 Giovanni Marchini Camia
    An extraordinarily rich, initially exasperating, yet eventually marvelous postmodern epic.
    • 60 Metascore
    • 58 Giovanni Marchini Camia
    Ends up probing largely universal quandaries to lackluster results.
    • 75 Metascore
    • 50 Giovanni Marchini Camia
    Had the story been more focused rather than trying to encompass all four sisters as protagonists as well as integrate a number of redundant secondary characters, it likely could have yielded more satisfying results.
    • 87 Metascore
    • 50 Giovanni Marchini Camia
    While Rosi certainly manages to jolt the viewer out of complacency, his strategy towards this end is so ethically dubious as to border on repellent.
    • 53 Metascore
    • 67 Giovanni Marchini Camia
    Lacking the earlier stylistic exuberance, Dog Eat Dog loses all momentum, taking forever to come to a conclusion both foregone and deeply dissatisfying.
    • 77 Metascore
    • 91 Giovanni Marchini Camia
    What Zero Days lacks in subtlety and formal innovation, however, it compensates for in breadth and lucidity.

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