Última noche en Milán

For me, it's neither, not a polizziotesco from the seventies nor a giallo either; and I have seen tons of them during my moviegoer life. It's simply a new kind of cinema: brilliant, intelligent, sensitive, a bit too complex and sophisticated for my empty brain. Very hard to follow because of a splendid editing. Powerful acting too, outstanding atmosphere, production design. You could find this kind of film from Spain or even Argentina, not only Italy. It is dark, bleak, but, I repeat, not very easy to understand nor explain in details. Anyway, it's a movie that it's also impossible to forget. I hope the director will continue after this one.

A wonderful opening sequence with stylistically typical writing and score - is this the return of the Poliziottesco? No, the hopeful nostalgics quickly hit the ground of reality, obviously that of our time. No tough 70s cop, a leading actor who, in my impression, initially embodies more of a RomCom prototype, for example. A deliberate break in style? In his role, he is semi-corrupt, disillusioned, tired of everyday life, battered, on the verge of becoming a "loser". So after a leisurely and not very meaningful 3/4 hour, i.e. A rather long span, I was ready to set my expectations back to zero for the sake of fairness, let's see what else happens, and suddenly the plot really picks up speed. The dynamics in the middle section are great cinema, the exciting follow-up in the episode no less thrilling. The makers' plan probably worked for me, hats off, a wonderful film with a great script.

A great story, but unfortunately poorly turned into a movie. The story has great potential but the script is quite cheap.

I like watching non-American movies, especially thrillers, so I started watching this movie with great anticipation. The scenes were so-so for the first few minutes and it almost put me off continuing to watch. It was only later in the film that it became clear why.

There are quite a few holes in the story that could have been shown much better, with more authenticity and more realistically shown. For example, when we see dozens of fellow cops at the crime scene, and the main protagonist is brought a glass of water by a forensics officer who has left the scene (would a forensics officer really leave a crime scene and bring water to someone who is hidden behind other people??) .

Too bad for a lost opportunity.

At last, an Italian genre film - thriller, noir - to be really proud of. A plot capable of surprising, masterful performances by the actors in both the main roles and the supporting cast, intelligent and never mannered direction. But what is most pleasing is that the Italian-ness goes beyond the obvious production and plot details-the setting, the characters, the cultural references- , enriching the dialogues with that typical irony proper to our country: we are brilliant even and above all in moments of crisis, even if there is a decision at stake on which our lives depend. The grade does not go toward 10 only because of some minor shortcomings in the mise-en-scene, such as some details in the key sequence (which nonetheless holds one's breath for pace and twists). An 8, however, is the minimum, well-deserved and full. Let's hope Andrea Di Stefano can return to our country to make a new film in the future.

Even if I'm Italian, I usually don't like italian thrillers so much. Well, this one is very, very different. It makes you feel you're inside the movie the whole time, even if there are not so many extraordinary special effects or chase scenes. You can feel from the very beginning it has a wonderful screenplay, great direction and excellent soundtrack.

Almost all actors (Favino and Caridi on top) are really amazing in their characters! I only wish some of them had used a less pronounced southern accent, or at least to have the subtitles, because some of the clips (fortunately not too many) are really hard to follow if you are not from Calabria or Sicily.