Giovanni Marchini Camia

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The Film Stage
For 59 reviews, this critic has graded:
  • 52% higher than the average critic
  • 0% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 7.4 points higher than other critics. (0-100 point scale)

Giovanni Marchini Camia's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 The Club
Lowest review score: 25 The Neon Demon
Score distribution:
  1. Positive: 42 out of 59
  2. Mixed: 15 out of 59
  3. Negative: 2 out of 59
59 movie reviews
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    • 78 Metascore
    • 75 Giovanni Marchini Camia
    3 Faces
    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.
    • 72 Metascore
    • 75 Giovanni Marchini Camia
    Happy End
    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.
    • 78 Metascore
    • 75 Giovanni Marchini Camia
    Donbass
    In strict terms of craft, Donbass is an impressive achievement, but its heavy-handedness nevertheless feels inordinate.
    • 72 Metascore
    • 75 Giovanni Marchini Camia
    Risk
    Poitras takes very little advantage of her direct access to Assange to offer up any other information that isn’t already common knowledge.
    • 52 Metascore
    • 67 Giovanni Marchini Camia
    Boris Without Béatrice
    Much like the film’s clinical cinematography, which is dominated by consistently striking yet lifeless tableaux, Côté’s theorem is closed in on itself, failing to produce interesting results.
    • 69 Metascore
    • 67 Giovanni Marchini Camia
    Asako I & II
    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.
    • 39 Metascore
    • 67 Giovanni Marchini Camia
    Queen of the Desert
    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.
    • 72 Metascore
    • 67 Giovanni Marchini Camia
    Gimme Danger
    Jarmusch’s film is a strictly conventional affair that resembles any number of TV documentaries.
    • 85 Metascore
    • 67 Giovanni Marchini Camia
    The Handmaiden
    Those familiar with Park’s earlier work will know that he’s hardly the most subtle of filmmakers, and his approach to gender politics here is risible, even self-contradictory. His customary prowess as a stylist and knack for constructing and navigating intricate plots, on the other hand, is once again put to good use.
    • 53 Metascore
    • 67 Giovanni Marchini Camia
    Dog Eat Dog
    Lacking the earlier stylistic exuberance, Dog Eat Dog loses all momentum, taking forever to come to a conclusion both foregone and deeply dissatisfying.
    • 85 Metascore
    • 67 Giovanni Marchini Camia
    The Salesman
    Uncharacteristically inert, the film plods its way to a strained finale that erodes much of the strength of its potentially compelling themes.
    • 53 Metascore
    • 67 Giovanni Marchini Camia
    Knight of Cups
    The lack of characterization is Cups‘ biggest flaw.... The constant Malick-ian voice-overs – fragmented, hushed, magniloquent – largely replacing dialogue don’t offer much by way of compensation.
    • 64 Metascore
    • 58 Giovanni Marchini Camia
    Café Society
    Café Society is a quintessential later-period Woody Allen film. That is to say, it’s utterly mediocre.
    • 43 Metascore
    • 58 Giovanni Marchini Camia
    Based on a True Story
    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.
    • 71 Metascore
    • 58 Giovanni Marchini Camia
    Dogman
    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.
    • 79 Metascore
    • 58 Giovanni Marchini Camia
    Green Room
    While Green Room features a number of ingeniously crafted set pieces, it quickly winds up as an excessive, borderline pornographic revelry in extreme violence.
    • 48 Metascore
    • 58 Giovanni Marchini Camia
    It's Only the End of the World
    While he does, to an extent, stifle some of his more adolescent instincts in comparison to earlier films (e.g. Laurence Anyways and Mommy), Dolan generally appears to have mistaken maturity for joylessness.
    • 60 Metascore
    • 58 Giovanni Marchini Camia
    The Commune
    Ends up probing largely universal quandaries to lackluster results.
    • 86 Metascore
    • 58 Giovanni Marchini Camia
    Loveless
    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.
    • 65 Metascore
    • 58 Giovanni Marchini Camia
    The Unknown Girl
    Even the cinematography by the Dardennes’ long-time collaborator Alain Marcoen, usually so instrumental in ensnaring the viewer within their films’ ethical quandaries, is surprisingly flat this time around.
    • 75 Metascore
    • 50 Giovanni Marchini Camia
    Our Little Sister
    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.
    • 66 Metascore
    • 50 Giovanni Marchini Camia
    Slack Bay
    Disappointingly, the film feels like someone trying very hard to imitate Li’l Quinquin, pulling off but a pallid counterfeit.
    • 77 Metascore
    • 50 Giovanni Marchini Camia
    24 Frames
    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.
    • 87 Metascore
    • 50 Giovanni Marchini Camia
    Fire at Sea
    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.
    • 73 Metascore
    • 42 Giovanni Marchini Camia
    The Killing of a Sacred Deer
    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.
    • 58 Metascore
    • 42 Giovanni Marchini Camia
    13 Minutes
    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.
    • 68 Metascore
    • 42 Giovanni Marchini Camia
    It Must Be Heaven
    By the time Suleiman’s character finishes his world trip and returns home, all he leaves us with is the reassurance that the Palestinian people are resilient and, eventually, will be free as well. That’s a terribly lazy note to end on. Some might even call it trivializing.
    • 68 Metascore
    • 25 Giovanni Marchini Camia
    Everybody Knows
    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.
    • 51 Metascore
    • 25 Giovanni Marchini Camia
    The Neon Demon
    The director has set out to make the most repellently misogynistic film imaginable, yet he’s disguised it as a postmodern feminist satire. By shattering every possible taboo, the film is supposed to be an attack against the very thing it represents. Really, though, any semblance of commentary is simply a posture for Winding Refn to cover his ass.
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