A Summer in Genoa

In some ways A Summer in Genoa was fairly like Grace is Gone which starred John Cusack as a father who together with his two children have to figure out life after the death of his wife. Here, Colin Firth plays the role of dad, who decided to uproot his family of daughters Mary (Perla Haney-Jardine) and Kelly (Willa Holland) from Chicago to Genoa in order to start their lives anew, which gives rise to plenty of touristy moments as they settle down in a new environment and get to learn a little bit about the culture of the Italians before they assimilate right in, not that we get to learn a lot anyway.

Directed by Michael Winterbottom, this film presented what would be a one month snapshot of the lives of three characters each affected quite differently with the passing of a loved one. Made even more poignant is that one of them was directly responsible for the death in the family, in an opening scene that you are probably going to cringe with cinematic premonition that something untoward would happen, since there were plenty of visual and aural clues on how it would all eventually pan out. But the snapshot presented was really slight in nature, having its characters fall into stereotypes, while the narrative shifts gear into the morose and flatlines almost throughout its entire run time.

Colin Firth could play Joe with his eyes closed, being the dad whose new stint in a school brings him attention in the form of female students, as well as a friend from the past (Catherine Keener) who had helped him and his family in their initial settling down, providing that potential romantic interest that didn't develop much. The most Joe had to do is to appease youngest daughter Mary, the baby of the family, who suffers from constant nightmares about that fateful night with her mom.

Willa Holland as the teenage daughter Kelly expectedly falls into the rebellious phase as she lusts after the attention showered unto her from many hot blooded Italian men, with the usual flings you'd come to expect from a title like that. The only depth to her character comes from the very testy relationship formed with her younger sister, where in front of their father she plays the angel, but in his absence becomes the bully not pulling her weight in the discharge of her responsibilities.

Perla Haney-Jardine though probably was the star of the show, stealing the thunder from everyone with her performance that requires to showcase a range of emotions, and by and large her character here may have resembled the little kid in Millions who possessed a vivid imagination. Hope Davis enjoyed limited screen time in the film, but her scenes opposite Hope Davis were probably the best in the storyline that required to tread upon the supernatural, though more Casper than creepy, personifying how one grasps onto treasured memories with the reluctance to let go.

Don't expect any major breakthroughs or moments with deeper meanings, though it had one harrowing scene that reminded me of how horrible traffic in Italy could be, and their scooters that weave in and out of small lanes, where a map is probably useless since the streets have no signages. It certainly brought back some of my own wonderful experience in the country, that the most this film had done, is to rekindle that interest to go travelling and tour more Italian towns.

Had I been in some kind of stupor when I watched this film I could easily have been forgiven for thinking I had been invited to Mr. Winterbottom's home to watch his family holiday film while on holiday in Genova. Had this been the case I would have been looking for a cat to stroke withing the first fifteen minutes. Well..that's what I normally do when I am subjected to total boredom. I would have then sipped the remains of my drink and made a polite exit.

This film is mind numbingly boring. Straight away you see a flight from Chicago to Genova via RyanAir. Since when did RyanAir fly from Chicago? Oops sponsorship! As for the film proper. Not much to say really. Shot on a cheap camera with cheap sound it centres around beach shots, shopping shots, lots and lots of alleyway shots. numerous shots of people on scooters, a car collision which looked like it had been done by retired stunt men, a few shots about candles being lit and nice cuddly family scenes. Add a little Italian into the stew and that's it.

Ignore any pretencion about sub-plots. There aren't any. There is no drama. It's a film that goes nowhere because it doesn't have a starting point. It could have been made by a group of students on their first year film course.

Next time I watch a film about Italy or based around Italy I shall make sure it has the stamp of an Italian director. Mr. Winterbottom has now entered my 'Must Avoid' list.

Truly awful. Minus 10

Now where's my cat?

This movie was way to slow for me.

I had to watch it twice to get through it.

I can't blame the acting - I feel all of the cast did a good job with what they had. The cinematography was impressive - all the narrow, tall alley shots made me feel like I was there. The story to me was just lacking.

I think I understand the message they were trying to get across - a family coming to terms with the accidental death of their mother/wife - a realistic story. But this family was not really much more interesting than my next door neighbor. It was just too common place.

I spent the movie waiting for something to happen - and it never did. Even the inclusion of the supernatural twist of the mother's ghost seemed not to add to the story at all.

The basics of a story that you expect to find in a movie were missing. There was no rising action, every part of the movie was just another day. Some conflict between the characters did occur but was built up so slowly and it hadn't really reached a high enough point by the time the climax happened.

When the climax did happened I was wondering "was that it?". It was somewhat more exciting than the rest of the movie but a far cry from what a climax should be.

The resolution seemed totally missing to me. I suppose we can assume that after the bland climax some of the conflict between the characters was resolved but I really don't think the incident was major enough to have caused that much of an effect on the characters past a day or two. Or perhaps we aren't supposed to assume anything was really resolved and that we just saw a short period of time of this very dull family and it will continue on the same once we're finished watching.

Overall, not a terrible movie but one they could have done much more with.

This film is about a family trying to come to terms with the death of the mother/wife by moving to Genova, Italy.

The plot of "Genova" sounds promising, but unfortunately it is empty and without focus. The film only consists of a collection of scenes depicting the daily life of the family, such as swimming, taking piano lessons or cooking eggs. Most of such scenes are redundant and tiresome, completely failing to engage viewers emotionally. The ending is very disappointing as it is not spectacular, moving or emotional. I can safely say that I am disappointed and bored by "Genova" The only thing good about the film is the sunny weather and the beauty of Genova. "Genova" can serve as an extended tourism advertisement for the city, but not as a film to be enjoyed.

This is one of those films the British Lottery Fund wastes its money on. The main problem is a rambling script which gets nowhere. The characters are not interesting, the story is conventional and insipid, the only thing of interest is the location: the city of Genoa (Genova in Italian). Having only a superficial acquaintance with Genoa, I had no idea of the intricate alleyways of its Old Town, and that the city was so interesting. I had thought Genoa was dull. I am delighted to say that I have been proved wrong. So from the travelogue point of view, this film has interest. The film contains one splendid performance, by a little girl named Perla Haney-Jardine. She has already made seven films despite being only 12, so she seems determined upon a career as an actress, and judging by her performance in this film, she should go far, as she is a natural and has a great deal of talent. Colin Firth, a reliable and professional actor, was on hand for the filming and when asked to be earnest, he was earnest, and when asked to be anguished, he was anguished. But somebody forgot to give him any worthwhile dialogue. The script is a total shambles. Catherine Keener does exceptionally well in a supporting role, and showing sympathy comes naturally to her, so that everybody would like to have her around (I would like to tell her every time I feel a cold coming on, as I know she would get me a soothing hot drink). So there we have it: Genoa's fascinating narrow alleys, an interesting little girl, and a sympathetic woman. Forget the rest. The older sister played by Willa Holland is such a disgusting character that the fact that the young actress does a good job of being repellent is not exactly the kind of acting tribute she would like to hear, I suspect. The notion that this family go off to Genoa to forget the unfortunate death of the mother is so trite that if we have another film like that, all dead mothers have a right to complain at being exploited. If Michael Winterbottom wanted to make a film about how interesting the old portion of Genoa is, why didn't he just go to the BBC and say he wanted to make a travel film with some mindless celebrity presenter? Why waste money on a feature film which is nothing but a vanity project of idle and meandering vacuity?