Mostly though, the Eternal City is there for unremarkable tourist-eye footage as background filler.Īlmost everything here plays like an early draft a younger Allen would have sharpened up considerably. Rome provides an excuse for Dean Martin’s ‘Volare’ on the soundtrack, as well as an opera-themed sketch (with Woody back in front of the camera playing a retired music-biz exec convinced he’s discovered the new Pavarotti), and the ever-resistible Roberto Benigni mugging away as an average Giuseppe turned into a celeb by the brainless local media. After turning out his best film in years with ‘Midnight in Paris’, Woody Allen’s creative revival comes to a juddering halt with a foursome of would-be amusing vignettes that barely muster a laugh between them.
0 Comments
Leave a Reply. |