El Monstruo de Florencia

Really slow and unfocused to the point where it was often difficult to follow.

The myriad of characters and constant flashbacks/flashforwards were the main reason for the confusion while watching this. There was also nothing compelling about the Italian police procedural side of this crime case, which was mind boggling because the case was reportedly delayed and unsolved for many years longer than it should have because of purported misdeeds and mishandling of evidence and suspects by said police squad.

I would have rather seen this story told from the point of view of the Douglas Preston non-fiction book. Far more compelling!

There are stories that are born and grow with you, and The Monster of Florence was my dark lullaby companion growing up.

No, I'm not Italian, but Swiss-close enough to the border that Italian culture and its stories often slipped through.

I remember being both terrified and mesmerised by the fear surrounding satanic cults and the "Pacciani trials." They were constantly on the news.

After my cartoon-filled afternoons, I'd stay glued to the television, waiting for the latest update on Il Mostro di Firenze.

So, when Netflix announced its series "Il Mostro," I approached it with cautious excitement. Having watched countless documentaries, films, and series about the case, I feared it would tread the same weary ground.

Thankfully, it doesn't. Instead, it returns to the origins-before The Monster of Florence even existed.

Finally-and I say this with some relief-Netflix delivers a true-crime series that transcends the formula of romanticising serial killers.

"The Monster" avoids mere sensationalism, examining the case through the fractured mirror of Italy's 1960-1970s social perspective.

Starting from the notorious Sardinian trail and the double murder of Barbara Locci and Antonio Lo Bianco in 1968, director Stefano Sollima portrays not an unknown killer, but a festering web of family ties, superstition, and archaic power structures-the breeding ground from which countless lesser monsters could only emerge.

The only certainty that endures is the killer's hatred of women-a sentiment reflective of the prevailing misogyny in society at that time.

Sollima and screenwriter Leonardo Fasoli craft a four-part miniseries with respect for both the victims and the enduring mystery surrounding this unsolved case.

"The Monster" doesn't aim to give a name to il mostro di Firenze, nor does it chase any new twists.

By now, the story is familiar; what remains compelling is how evil takes root and expands-from the whispers of a small town to an obsession that captures a nation.

This is horror born of history: the kind that festers in the quiet corners of a society that would rather look away.

Each episode centres on a different suspect-from the Vinci brothers to the Mele clan-all potentially guilty, all tragically distant from the truth.

Whatever that truth is, it still hasn't found peace, though the series could have delved deeper into the societal trauma that marked a generation of Italians.

"The Monster" still stands as one of the few true-crime works that understands horror not as spectacle, but as something rooted in the collective memory of a nation.

Making a miniseries about a serial killer always has potential, but here the result doesn't quite deliver. The Monster of Florence aims to be an elegant, atmospheric true crime story -slow, reflective, and serious- but it ends up being too slow for its own good. Instead of building tension, it drains it. There's no clear main character or strong narrative thread to pull the viewer in, and the story feels scattered and unfocused.

Stefano Sollima tries to add depth through fragmented storytelling, jumping back and forth in time and showing events from different perspectives. It's an interesting idea, but confusion wins over intrigue. At times, it feels more like an exercise in style than a compelling story.

The best part lies in the atmosphere -that unsettling Tuscan landscape, the impeccable cinematography, and the ever-present sense of quiet danger. There's talent behind the camera, but also a lack of rhythm and emotional grip.

It's not a failure, but definitely a missed opportunity. If you're looking for a human, grounded take on the case without sensationalism, you might find something here. But if you expect a gripping, addictive thriller, you'll likely tune out before the end.

Very well acted. It is surprising. It makes you think. Who has done it? Great sites and surroundings. All those cars of the 70's and 80's. So nice. Yep, the movie is a bit dark. It is a dark story. Very Italian, what I like a lot. And now I still hsve to write 70 characters. I would like ifdutch actors could play like the profs in this movie!! They cant....

"Il Mostro" sets out with a chilling premise: a serial killer terrorizing the Florence area. It opens with one of his crimes, then links it to another murder from about 15 years earlier. From that point, the narrative shifts almost entirely to the old case and the people involved.

But honestly, almost nothing new is revealed throughout the story. Instead, what stands out is how clumsy and ineffective the Italian justice system appears to be. The series leaves you frustrated more than intrigued.

While based on real events, it never explores the aftermath in any meaningful way. The only memorable moment is a line about Salvatore's disappearance and how the killings stopped afterward - possibly just coincidence. Beyond that, we learn nothing about what happened to the other characters.

And on a side note, it surprised me how many young people in 1980s Florence kept risking being alone in cars together despite the killer targeting exactly that situation. Maybe I'm just naive, but it felt unrealistic.

In the end, "Il Mostro" is atmospheric and well-crafted visually, but it's a disappointing look at how justice faltered and a story that fails to deliver deeper insight.