Il mostro

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!

Not that great either!

I agree a lot more could have been brought out to the viewer.

Yet, it was interesting as I have not read the book or knew about such a case.

I guess they tried. Just is not as exciting as I had expected. I think I'll buy the book. Maybe help fact from overthinking drama series.

This crime thriller is based on true events. After long time finally a solid psycho murder episode from Italy on Netflix. I find it is actually on short supply to see good series or movies from Italy on Netflix. The first episode was for me too slow paced and I thought already to stop. But the longer I watched it the more interesting the story got. There are many flashbacks to reconstruct the mystery puzzles and help so the audience to understand what was really going on. The atmosphere and filming locations have been wonderfully created from the 60ties to the 80ties. The actors played the characters respectably and I think the director did a great job too. If you liked the other two psycho killer series on Netflix Jeffrey Dahmer or Ed Gein this is for you. Final vote: 7/10.

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....

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.