Italy Archives – CULTURE MIX

Review: ‘Andrea Bocelli: Because I Believe,’ starring Andrea Bocelli

September 21, 2025

by Carla Hay

Andrea Bocelli in “Andrea Bocelli: Because I Believe” (Photo by Lorenzo Montanelli/Trafalgar Releasing)

Directed by Cosima Spender

Italian with subtitles

Culture Representation: The documentary film “Andrea Bocelli: Because I Believe” features a predominantly white group of people (with a few black people) who are connected in some way to Italian opera singer Andrea Bocelli.

Culture Clash: Bocelli became a music superstar despite the challenges of being blind.

Culture Audience: “Andrea Bocelli: Because I Believe” will appeal primarily to people who are fans of Bocelli, opera music and celebrity documentaries that show the celebrities at their best.

Veronica Bocelli and Andrea Bocelli in “Andrea Bocelli: Because I Believe” (Photo by Lorenzo Montanelli/Trafalgar Releasing)

“Andrea Bocelli: Because I Believe” is a play on words in reference to Andrea Bocelli’s 2006 hit song “Because We Believe,” but it’s still a curious title for a documentary that doesn’t really show or tell what this superstar opera singer believes, other than him saying that he’s had a great life that has surpassed his expectations. This is a feel-good biographical tribute, not a documentary that reveals anything new or gets Andrea Bocelli to have soul-baring insights. Opera fans will enjoy the movie. Everyone else might be bored.

Directed by Cosima Spender, “Andrea Bocelli: Because I Believe” had its world premiere at the 2024 Toronto International Film Festival. The documentary follows the usual biography formula of mixing archival footage with footage that was filmed exclusively for the documentary, which included Bocelli’s participation. The documentary, which was filmed in 2023, features performances in Italy (at Caracalla Auditorium in Rome and Teatro del Silenzio in Turin) at New York City (at Madison Square Garden), with some backstage footage that includes soprano Cristina Pasaroiu and baritone Massimo Cavalletti.

Don’t expect this documentary to be a “tortured artist” film. Bocelli is forthright in saying that he feels very lucky to have a life that’s filled with love, happiness and extraordinary career success. He says that not only have his dreams come true but also “reality has exceeded my dreams.” The movie begins with Bocelli making these somewhat generic comments in a voiceover: “I always had faith in my own destiny. I was born with an affinity for music, and it grew like my hands, my arms and my legs.”

Bocelli was born on September 22, 1958, in Lajatico, Italy. His parents (now deceased) sold farming equipment for a living. In the documentary, he describes his father Alessandro as “a great gentleman” and his mother Edi as “one of the feistiest people I ever met” and “a great saleswoman.” Andrea says Edi told him that Andrea loved opera music since he was a baby.

“I came out different,” says Andrea, which is one of the few things he says in the documentary that alludes to him being born with glaucoma. He doesn’t talk about his visual disability except for sharing how it was emotionally painful for him in his childhood to live apart from his family when he was sent to a boarding school of visually impaired children. When he was at boarding school, he was a goalie during a soccer game, where he got hit in the eyes by a soccer ball, and the injury caused him to be permanently blind.

Andrea’s younger brother Alberto Bocelli, who is briefly shown in the documentary, says that Andrea underwent several eye operations when Andrea was a child. Alberto describes these operations as “torture” for Andrea. In an archival TV interview, Edi says that Andrea “never accepted any pity” for being blind.

In the documentary, Andrea talks about having a loving and supportive family who encouraged him to pursue his goal to become a professional singer, which is an aspiration that he had since he was a child. Andrea vividly remembers how, when he was 6 or 7 years old, a nanny named Oriana showed him a newspaper article about a La Scala (Scala Opera House) performance from Franco Corelli. Oriana asked Andrea to tell his parents to by a Corelli album.

“It changed my life,” Andrea says of discovering Corelli. “I was gobsmacked by his voice. He became my virtual teacher.” Andrea says he met Corelli years later in Turin, and was deeply impacted when Corelli told Andrea, “You have a beautiful voice.” Andreas says of this compliment: “It was one of the most moving moments of my career.” Later in the documentary, Andrea mentions Luciano Pavarotti as another big influence. Andrea says that two of the highlights of his own career were performing with Pavarotti and hearing Pavarotti praise his talent.

Andrea has also had longtime a passion for horses, which he describes as “my greatest obsession as a child.” Andrea is shown riding horses at his family estate, which he says his family has owned since 1831. Andrea has fond childhood memories of going horseback riding by himself. He talks about once getting lost on horseback ride during one of these solo outings as a child. But true to his charming but guarded personality in the documentary, Andrea says, “I won’t tell you what my father said when he found me.”

In addition to spending time with his horses, Andrea is often seen in the documentary cuddling his whippet dog Ginevera. You can tell that Andrea truly loves his pets because all the animals look well-cared-for and very content. The pets shown in the movie are listed and named in the movie’s end credits. It’s not unusual to see Andrea holding Ginevera like someone holds a baby.

The documentary’s archival clips tell the story of Andrea’s ascent in the music business. He recorded pop music early in his career but never abandoned opera. Along the way, he also merged pop and opera in many of his performances and recordings. He became known as a pop tenor, which is a label that he admits not to be particularly fond of, although he does compare his blending of pop and opera to being bilingual. “Con te partirò,” his 1995 duet with Sarah Brightman (from his second album “Bocelli”), was a massive breakthrough crossover hit for him and remains one of his signature songs. The documentary briefly shows pop singers Ed Sheeran and Dua Lipa collaborating in recording studios with Andrea.

Andrea’s manager/second wife Veronica Bocelli is his constant companion. The documentary briefly shows the two spouses in a business meeting to plan the Caracalla performance, which included other star singers at the concert. Veronica rejects the suggestion that Andrea only do one song at the end of the show. She gets her way when she says that Andrea needs to perform at least two or three songs.

The documentary does more “showing” than “telling” about Andrea’s life off stage. Andrea and Veronica (who met and became romantically involved with each other in 2002, and have been married since 2014) have a short, light-hearted conversation about their courtship. She met him when he had recently been separated from his first wife Enrica Cenzatti, after 10 years of marriage to Cenzatti.

A romance between Andrea and Veronica quickly blossomed. And when he asked Veronica to travel with him to the United States, she says she only agreed to do it if he gave her a job. Veronica admits in the documentary that when she started working with Andrea, she “didn’t even know what a contract looked like.” But their business partnership has remained solid throughout the years.

Veronica is about 25 years younger than Andrea. In the documentary, the spouses joke quickly about their age gap when Veronica mentions that she’s known Andrea for more than half of her life, but he says that he can’t say the same about her. They are both diplomatic by not mentioning anything negative about Andrea’s first marriage. Andrea will only say that he was happy when his first marriage was going well, and he was at a low point in his life when he and his first wife were separated.

Not surprisingly, ex-wife Cenzatti is not interviewed in the documentary. However, she’s shown in an archival clip of TV interview with Andrea and his parents when Andrea and Cenzatti were still married to each other. In this archival interview, there’s noticeable tension between Cenzatti and Andrea’s mother Edi, who hesitates when she’s asked to comment on the marriage and gives a generic response. Andrea’s two children from his first marriage—son Amos Bocelli (born in 1995) and son Matteo Bocelli (born in 1997)—are not seen, mentioned or interviewed in the documentary.

Veronica chooses her words carefully when she talks about Andrea’s previous manager Michele Torpedine, who is not interviewed in the documentary but he is seen in archival footage from a TV interview. Veronica says that she found out “certain things” that made her and Andrea decide that they needed to make a “clean break” from Torpedine. Based on what’s shown in the documentary, Veronica’s managerial style is protective but not too overbearing.

Although “Andrea Bocelli: Because I Believe” has a very flattering tone in presenting Andrea and his life, there isn’t a lot of “fan gushing” in the documentary. Colleagues who are interviewed in the documentary—such as Sugar Music founder Caterina Caselli, singer/songwriter Zucchero Fornaciari, mezzo soprano Denyce Graves, and Universal Music Group executive Dickon Stainer—give matter-of-fact statements that praise Andrea, but not in an over-the-top, worshipful way.

The documentary has a scene showing a star-struck fan named Kwaku Duah (an actor/DJ), who gets emotional when he meets Andrea backstage at a concert. Veronica hugs Duah when he talks about how much Andrea has made a positive difference in people’s lives. And then, Duah breaks down and cries when it sinks in that he has met his idol. That’s about the extent of the fan interaction show in the documentary, except if you count “blink and you’ll miss it” moments of a few celebrity fans (such as Gerard Butler and Gloria Gaynor) mingling backstage with Andrea.

The scenes of Andrea at home are pleasant but also carefully curated. He is shown cooking in a kitchen and having a dinner party with longtime friends, including two—Sergio Bartolini and Andriano Fiaschi—whom Andrea has known since his teenage years. Bartolini comments, “Andrea is like a brother to me.” Fiaschi expresses similar feelings and says he remembers when Andrea became fully blind, he helped Andrea learn more about body language.

If you’re expecting Andrea to reveal anything insightful about how he trains or keeps his distinctive voice in shape, you won’t find that information in the documentary. The closest comment he makes is a voiceover in the beginning where he mentions a pre-show ritual: “The first thing I do in the morning when I get on my feet is to test my voice. If my voice sounds good, I relax and wait for the concert.” As for traveling, the only thing he says about it is the hardest thing for him about traveling is going to places where he can’t speak the language.

Andrea and Veronica have a daughter named Virginia Bocelli (born in 2012), who is in several scenes in the documentary. She’s an intuitive child whose parents are encouraging her to be artistic. Virginia is seen painting and taking piano lessons in the documentary. Another scene in the documentary shows Virginia joining Andrea on stage for a duet of Leonard Cohen’s “Hallelujah” while Andrea plays acoustic guitar, and the audience enthusiastically responds.

Backstage after the performance, Virginia gleefully says that the performance was better than she expected. And then, her smiling mother Veronica takes her aside in a curtain-clad room, pulls the curtains together, and indicates to the cameras that they want privacy. It’s very indicative of the documentary’s tone: This is a glimpse—not an exposé or investigation—of the privileged life of Andrea Bocelli. If you have no problem with famous entertainers focusing on presenting their talent and keeping much of their personal lives a mystery from the public—then you’ll have a lot of tolerance for “Andrea Bocelli: Because I Believe,” which shows plenty of his talent and how it’s possible to be a scandal-free celebrity who’s unapologetically happy with success.

Trafalgar Releasing released “Andrea Bocelli: Because I Believe” for a limited engagement in U.S. cinemas on August 21 and August 24, 2025.

Review: ‘Another Simple Favor,’ starring Anna Kendrick, Blake Lively, Andrew Rannells, Elizabeth Perkins, Michele Morrone, Alex Newell, Elena Sofia Ricci, Henry Golding and Allison Janney

April 30, 2025

by Carla Hay

“Another Simple Favor”

Directed by Paul Feig

Some language in Italian with subtitles

Culture Representation: Taking place on Italy’s Capri island and briefly in the United States, the comedy/drama “Another Simple Favor” (a sequel to “A Simple Favor”) features a predominantly white cast of characters (with some African Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A lifestyle vlogger/author, who is invited to the wedding of a homicidal friend-turned-enemy, gets involved in another murder mystery case during the wedding celebration.

Culture Audience: “Another Simple Favor” will appeal primarily to people who are fans of the movie’s headliners; the book and movie “A Simple Favor”; and sarcastic dramedies about insecure and image-conscious people.

Cast members of “Another Simple Favor.” Pictured in front: Blake Lively and Michele Morrone. Pictured in back: Alex Newell and Anna Kendrick. (Photo by Lorenzo Sisti/Amazon Content Services)

“Another Simple Favor” doesn’t have the original zest of “A Simple Favor,” but it’s still an enjoyable watch for the performances and to see how the characters deal with the inevitable murder mystery. The movie crams in too many plot twists near the end. Leading up to these turns in the story, there’s enough snappy banter and intriguing “whodunit” sleuthing to keep most fans of these types of movies interested in seeing what will happen next.

Directed by Paul Feig and written by Jessica Sharzer and Laeta Kalogridis, “Another Simple Favor” had its world premiere at the 2025 SXSW Film & TV Festival. “Another Simple Favor” is a sequel to 2018’s “A Simple Favor,” which was directed by Feig and written by Sharzer, with the adapted screenplay based on Darcey Bell’s 2017 novel of the same name. Is it necessary to know what happened in “A Simple Favor” to watch “Another Simple Favor”? No, but it definitely helps because “Another Simple Favor” reveals many of the plot twists that happened in “A Simple Favor.”

In “A Simple Favor” (which took place in an unnamed U.S. city), the two friends-turned-enemies at the center of the story are neurotic and talkative Stephanie Smothers (played by Anna Kendrick) and smug and manipulative Emily Nelson (played by Blake Lively), who’ve been in a battle to outwit each other, ever since [spoiler alert] Emily faked her own murder. Emily faked the murder by staging Emily’s “disappearance,” then killing her estranged identical twin sister Faith McLanden (also played by Lively) by drowning her in a lake, and then going into hiding, knowing that when Faith’s body would be found, people would assume that the body was Emily’s. Emily tried to frame Emily’s husband Sean Townsend (played by Henry Golding) for the crime.

In “A Simple Favor,” Stephanie (a widowed mother) was a domestic lifestyle vlogger, while Emily worked in public relations at a fashion company. Emily and Sean have a bratty son named Nicholas “Nicky” Townsend-Nelson (played by Ian Ho), who was about 5 years old during the events that took place in “A Simple Favor.” Stephanie’s son Miles Smothers (played by Joshua Satine), who is about the same age as Nicky, became best friends with Nicky because they’re school classmates. Stephanie and Emily met because of the friendship between Miles and Nicky.

Why did Emily fake her own death? Sean was a one-hit-wonder novelist who became a university professor, but he wasn’t making enough money for Emily. The couple was heavily in debt, due to Emily’s overspending. Emily’s plan was find a way to get the insurance money from her faked murder and then start a new life under a new identity with Nicky.

During the investigation into Emily’s fake death, Stephanie played amateur sleuth and ended up having a romance with Sean. When Emily found out, she set out to ruin Stephanie’s life too. In the end, Emily made a confession that Stephanie secretly livestreamed, and Emily was arrested. The movie’s epilogue mentioned that Emily was convicted of murder and other crimes, and she was sentenced to 20 years in prison.

All of this background information is a lot to know before watching “Another Simple Favor,” which starts with a not-so-great summary of the previous events that took place in “A Simple Favor.” Without knowing all the nuances of how and why the relationship changed between Stephanie and Emily in “A Simple Favor,” it will be harder for viewers to connect with these characters in “Another Simple Favor.”

“Another Simple Favor” picks up five years after the events of “A Simple Favor.” Stephanie’s role in exposing Emily’s crimes has now made Stephanie semi-famous and gotten her millions of followers on social media. Stephanie’s vlog is now named “A Pinch of Murder,” a combination of lifestyle advice and true-crime case solving. Stephanie’s slogan for the vlog is “Your one-stop shop for hot home tips and cold case flips.”

The movie begins by showing Stephanie on the Italian island of Capri while she is doing a livestream to tell her audience that she is under house arrest. She says, “I want to be clear: I did not kill Emily’s husband.” How did Stephanie end up as a murder suspect who’s under house arrest? And why is she in Italy? The movie then unfolds to show to what happened.

Stephanie has written a non-fiction book called “The Faceless Blonde” about her experiences with Emily. However, sales for the book have been disappointing. And Stephanie had to temporarily shut down her vlog because she got public backlash for exploiting her role in Emily’s murder case.

To promote the book, Stephanie does a book reading. In attendance at this book reading are her book agent Vicky (played by Alex Newell); Detective Summerville (played by Bashir Salahuddin), the lead police investigator in Emily’s criminal case; and three of the gossipy neighbors who were in “A Simple Favor”: Darren (played by Andrew Rannells), Sona (played by Aparna Nancherla) and Stacy (played by Kelly McCormack). And there’s someone else who shows up at the book reading: Emily. Of course, people start filming this surprise appearance of Emily on their phones, and the videos goes viral.

Emily makes her grand entrance and explains that she was able to get out of prison because her high-priced attorneys got the conviction reversed by successfully arguing that there was evidence tampering that led to her conviction. Emily, who got divorced from Sean while Emily was in prison, is now engaged to a wealthy Italian man named Dante Versano (played by Michele Morrone), whom she met years ago when they had a fling in Italy when Emily was in her 20s. Dante, who is described as madly in love with Emily, reconnected with Emily while she was in prison, and he paid for Emily’s legal defense that got her out of prison.

Emily has shown up at Stephanie’s book reading to invite her to the lavish wedding, which will take place on Capri and will be a first-class, all-expenses-paid trip for members of the wedding party. Emily wants Stephanie to be her maid of honor. Stephanie says no to the wedding invitation at first.

But with Miles away at summer camp, and Vicky pressuring Stephanie to do something bold to promote the book, Stephanie changes her mind and says yes to the wedding invitation. Stephanie instinctively knows that Emily holds grudges and might have a devious plan in mind for Stephanie. Just in case, Stephanie does a lot of livestreaming and video posting during the trip so that her millions of followers can keep track of what’s happening.

Sean and Nicky are guests at the wedding too. Nicky is still a brat. Sean is now a very angry and bitter person. He spends most of the wedding getting drunk and complaining about how horrible his ex-wife Emily is. There’s also a lot of tension at the wedding for other reasons: Dante’s domineering mother Portia Versano (played by Elena Sofia Ricci) disapproves of Emily and isn’t afraid to show it. Dante is also feuding with Matteo Bartolo (played by Lorenzo de Moor), a longtime business rival who is at the wedding.

As already shown in the movie’s trailers, there’s also tension because Emily’s estranged mother Margaret McLinden (played by Elizabeth Perkins) is an unwelcome guest but has shown up with Margaret’s older sister Linda McLinden (played by Allison Janney), who was invited to the wedding. The role of Margaret was played by Jean Smart in “A Simple Favor.” Margaret’s different physical appearance in “Another Simple Favor” is explained as Margaret having had “work done”—in other words, plastic surgery.

Which of Emily’s husbands will be murdered? This review won’t reveal that information since it was not revealed in the movie’s trailers. However, there are plenty of suspects and motives for people to frame someone for any murder that happen in the story. “Another Simple Favor” is a bit overstuffed with new characters, which might annoy or frustrate some viewers.

By taking the story from a generic suburban American location to the gorgeous locales of Capri, “Another Simple Favor” obviously looks a lot more glamorous than “A Simple Favor.” There are scenes in private jets and five-star resorts. “A Simple Favor” had retro-chic French music for the soundtrack, while “Another Simple Favor” has retro-chic Italian music for the soundtrack. But ultimately, putting “Another Simple Favor” in more luxurious settings is just dressing up a screenplay that’s messier than “A Simple Favor.”

“Another Simple Favor” also continues a few of the provocative storylines that were in “A Simple Favor.” Both movies show that despite Emily’s and Stephanie’s hatred of each other, there’s some underlying sexual tension between Emily and Stephanie. Emily kisses Stephanie in a seductive way in both movies. And people they know describe Emily and Stephanie as being obsessed with each other.

In addition, Stephanie isn’t as squeaky-clean as she appears to be. When Emily and Stephanie started to get to know each other as friends in “A Simple Favor,” Stephanie confessed to Emily that Stephanie knowingly committed incest years before Stephanie was married to her husband Davis (played by Eric Johnson), when Stephanie had sex with a man she had recently found out was her long-lost half-brother Chris (played by Dustin Milligan). Years later, when Stephanie and Davis were married, Davis noticed that Stephanie and Chris seemed too close for comfort, and he confronted Chris about it during a car ride. The car crashed and killed Davis and Chris.

Stephanie thinks that Chris and Davis were probably arguing about her during that car ride, so she feels guilty about both of their deaths. Emily uses that information to taunt and somewhat blackmail Stephanie, including calling Stephanie a “brother fucker.” In “Another Simple Favor,” there’s another incest incident. It’s not played for laughs, but it just seems tacky and unnecessary.

“Another Simple Favor” undoubtedly has a talented cast keeping things afloat when the scenarios get too campy or ridiculous. Kendrick and Lively have many more scenes together in this sequel, which is one of the few things in “Another Simple Favor” that’s better than “A Simple Favor.” Kendrick excels at playing dorky people pleasers, while Lively seems to be having fun hamming it up as self-absorbed Emily. Janney is a scene stealer as strong-willed Linda in “Another Simple Favor,” while other new characters in “Another Simple Favor” are hollow and aren’t nearly as interesting.

“Another Simple Favor” is prettier to look at than “A Simple Favor,” but the overall personality of the movie is more superficial. The end of “Another Simple Favor” hints that the filmmakers want another sequel. The novelty of these characters is now gone, so if the saga between Stephanie and Emily continues, they’re better off being in a situation that’s more credible and lasts longer than a wedding trip.

Prime Video will premiere “Another Simple Favor” on May 1, 2025.

Four Seasons launches private jet tour inspired by the HBO award-winning series ‘White Lotus’

February 25, 2025

The following is a press release from Four Seasons:

Get ready to board the Four Seasons Private Jet Experience for an exclusive opportunity to explore some of the iconic settings of the HBO® Original Series The White Lotus with a new World of Wellness journey. Building on the recently announced global partnership between Four Seasons and HBO, the unforgettable 20-day itinerary will be offered for one exclusive journey, touching down in Maui, Taormina and Koh Samui— filming locations of the first three seasons of acclaimed series—along with five additional intriguing destinations that will allow guests to create their very own memorable storylines.

“We’ve experienced firsthand how The White Lotus has fuelled the set-jetting trend, inspiring travellers to explore the breathtaking Four Seasons properties that served as backdrops for this beloved series,” says Marc Speichert, Executive Vice President and Chief Commercial Officer, Four Seasons. “Now, with the third season captivating audiences, we are thrilled to provide guests with the opportunity to experience their own version of The White Lotus aboard the Four Seasons Private Jet Experience, blending their love of the series with the bucket-list journeys we offer in the sky.”

The World of Wellness itinerary will take flight for one journey and is designed to celebrate the cultural phenomenon of The White Lotus and some of the iconic settings of its storylines, along with other compelling global destinations. With wellbeing playing its own role in the third series, guests aboard the Four Seasons Private Jet Experience can explore wellness their way, with fully personalized itineraries to enrich mind, body and soul as they travel from one captivating destination to the next. Whether indulging in a spa treatment, looking for an adrenaline rush, or simply lounging with a cocktail in hand, guests can dream up their own wellness itinerary suited to their wishes.

“The World of Wellness itinerary was crafted to meet the desire of guests, knowing that more and more, travellers are influenced by the locations they enjoy on their screens,” continues Speichert. “This new journey is perfectly curated to meet this demand, while personalizing offerings for each guest at every step of the way. It’s a once-in-a-lifetime experience, and we can’t wait to take flight in 2026.”

Let Your Story Unfold: The White Lotus x The World of Wellness

The Four Seasons Private Jet Experience offers a seamless end-to-end journey aboard a custom-designed Airbus A321 with stops in some of the world’s most fascinating destinations, this time with a focus on personalized wellness. On the ground and in the air, guests will enjoy Four Seasons legendary service, access to local adventures and experiences, and personalized care from a dedicated team.

World of Wellness will take 48 guests to eight iconic destinations from May 7 to 26, 2026. Travelling aboard the custom-designed Four Seasons Private Jet, guests will take off from Singapore, before journeying onwards to Koh Samui, the Maldives, Taormina, Marrakech, Nevis, Mexico City, and completing the journey in Maui—all with stays exclusively at Four Seasons hotels and resorts.

Highlights include three nights at Four Seasons Resort Koh Samui in Thailand, a backdrop in the recently premiered third season of The White Lotus. Guests will have the opportunity to snorkel with guidance from an expert marine biologist, take part in Muay Thai training at the property’s iconic boxing ring set in the hills with 240-degree views of the ocean and jungle, and enjoy spa treatments inspired by the Resort’s tropical surroundings and rooted in Thai traditions.

In Taormina, Sicily, which served as a setting in season two, guests will enjoy three nights at San Domenico Palace, Taormina, A Four Seasons Hotel, cycling to picturesque wineries around Mount Etna, morning yoga in the Belvedere Gardens, and creating one’s own TV-worthy scenes strolling through the pebble stone streets and back alleys of the historic town, enjoying the many culinary delights at every corner.

Along the way, each destination is ripe for discovery to suit each guest’s own needs, starting with a welcome dinner in Singapore, where guests will taste firsthand why the country is known as a culinary paradise. In the Maldives, discover the magic of a Night Spa ritual performed under the stars, snorkel the coral reef, and embark on a turtle safari, or spend the day lounging amid the turquoise waters surrounding the Resort. Spend a day discovering the cultural secrets of Marrakech amid the ancient medinas, followed by a relaxing private hammam bath experience with a clay scrub from the Atlas Mountains for full-body exfoliation and soothing. In Nevis, rejuvenate at the island’s natural hot springs, and in Mexico City, take part in a traditional temazcal (house of heat) ceremony, take in sunrise views from a hot-air balloon or enjoy a cocktail in the hotel’s world-renowned bar, Fifty Mils.

The trip will conclude where the The White Lotus began, with two nights at Four Seasons Resort Maui at Wailea, offering guests the opportunity to explore the coast on an outrigger canoe and unwind at the end of a memorable journey through the traditions of deep-rooted Hawaiian culture in a lomi lomi massage.

Beyond enjoying the wonders of the journey on the ground, travellers will jet-set between each location aboard the custom-designed Four Seasons Jet, featuring 48 handcrafted seats constructed of Italian leather and 6.5 feet (2 metres) of personal space including extended legroom and a plush ottoman. The Jet also features an interactive social space – the “lounge in the sky” – where guests can relax and connect with each other and learn from Four Seasons craftspeople on the brand’s exceptional artistic, wellness and culinary offerings.

The World of Wellness Jet Experience is one of many ways Four Seasons and Max have partnered to create immersive experiences and activations to celebrate The White Lotus around the globe. To learn more, please see here.

About Four Seasons
Four Seasons opened its first hotel in 1961 and since that time has become a global leader in luxury hospitality and branded residential, with a focus on genuine and unparalleled service experiences. Four Seasons currently operates 133 hotels and resorts and 55 residential properties in major city centres and resort destinations in 47 countries. The company continues to grow with a guest-centric mindset, including a global pipeline of more than 60 projects under planning or in development. In addition to its hotels and resorts, Four Seasons experiential offerings include more than 600 restaurants and bars globally, the Four Seasons Private Jet Experience, Four Seasons Drive Experience, and the upcoming Four Seasons Yachts. Four Seasons consistently ranks among the world’s best hotels, resorts, restaurants and bars, and most prestigious luxury hospitality brand in reader polls, traveller reviews and industry awards. For more information and reservations, visit fourseasons.com. For the latest news, visit press.fourseasons.com.

About the Four Seasons Private Jet Experience
All Four Seasons Private Jet itineraries travel aboard the custom-configured Four Seasons Private Jet. Designed by the same team that conceives the style and character of our hotels and resorts, the reimagined Airbus A321neo-LR offers exceptional, multi-destination journeys for 48 globetrotting travellers. All Four Seasons Private Jet itineraries include accommodations in Four Seasons hotels and resorts or, in remote locations, in accommodations carefully selected by Four Seasons. Additionally, guests travel with an expert Four Seasons journey team and onboard concierge who handle all trip logistics. To learn more about the Four Seasons Private Jet Experience and to continue exploring the custom-designed Four Seasons Private Jet, click here. For those looking to travel in 2025 and earlier in 2026, more upcoming itineraries can be found here.

The Four Seasons Private Jet Experience is operated by TCS World Travel, dedicated to delivering immersive, worry-free travel experiences for the globally curious luxury traveller. The aircraft is operated by Titan Airways Limited. For more information from the industry leader in Private Jet Journeys, click here.

About Max
Max is the premiere global streaming platform from Warner Bros. Discovery that delivers the most unique and captivating stories, ranging from the highest quality in scripted programming, movies, documentaries, true crime, adult animation, and live sports and news (where available). Max is the destination for prestigious entertainment brands such as HBO, Warner Bros., Max Originals, DC, Harry Potter, as well as iconic shows like Friends and The Big Bang Theory, all in one place.

About The White Lotus
New episodes of HBO’s Emmy®-winning series The White Lotus, from Mike White, debuts new episodes every Sunday on HBO and Max and follows a new group of guests at another White Lotus property. The series is created, written and directed by Mike White and executive produced by White, David Bernad and Mark Kamine.

Review: ‘Parthenope,’ starring Celeste Dalla Porta, Stefania Sandrelli, Gary Oldman, Silvio Orlando, Luisa Ranieri, Isabella Ferrari and Silvia Degrandi

February 21, 2025

by Carla Hay

“Parthenope”

Directed by Paolo Sorrentino

Italian and Neapolitan with subtitles

Culture Representation: Taking place in Naples, Italy, in 1973 and in 2023, the dramatic film “Parthenope” features an all-white cast of characters representing the working-class and middle-class and wealthy.

Culture Clash: A 23-year-old woman has a strange relationship with her brother and is sexually irresistible to many people she meets while she’s an anthropology student and deciding what to do with her life.

Culture Audience: “Parthenope” will appeal mainly to people who are fans of filmmaker Paolo Sorrentino and artsy European films that don’t have much to offer besides gorgeous locations and depictions of luxurious but empty lifestyles.

Celeste Dalla Porta, Daniele Rienzo and Dario Aita in “Parthenope” (Photo by Gianni Fiorito/A24)

Much like the movie’s title character, “Parthenope” is pretty to look at but has a hollow personality. This Italian drama pretends to be erotic and provocative, but it is neither. Viewers might be as bored or frustrated as the movie’s shallow characters.

Written and directed by Paolo Sorrentino, “Parthenope” had its world premiere at the 2024 Cannes Film Festival as an In Competition film eligible for the festival’s top prize: the Palme d’Or. It’s an example of a movie that most likely got into this elite festival in this prestigious category because of the director’s fame and connections, not because of the quality of the movie. If “Parthenope” had been written and directed by an unknown filmmaker, it’s doubtful that this vapid film would have been regarded as highly by people who think this is a great movie.

“Parthenope” (which take place in Naples, Italy, where the movie was filmed on location) has most of the story taking place in 1973, while the last 20 minutes take place in 2023. By the time this 137-minute movie ends, you’ll see plenty of gorgeous scenery of people luxuriating near beaches with sky-blue water, or lounging around in upscale homes and hotels. However, you can get plenty of those types of visuals for free in any number of video travelogues on the Internet.

What you won’t get by the end of the movie is any sense of who any of the characters really are and what is the point of this entire story. In 1973, Parthenope di Sangro (played by Celeste Dalla Porta) is a beautiful anthropology student who attracts sexual attention almost everywhere she goes—from men, women and even her own brother Raimondo (played by Daniele Rienzo), who has been obsessed with her since they were children. A huge part of the movie is about Raimondo (her older brother) being jealous when Parthenope gets any sexual attention from other people.

This quasi-incestuous storyline is supposed to look edgy, but most of the time it looks silly because the acting is so bad. Far from being turned off by Raimondo’s obvious sexual attraction to her, Parthenope seems to encourage it. There’s a scene where Parthenope and her boyfriend Sandrino (played by Dario Aita) are slow dancing, and Raimondo joins in on the slow dance, as Parthenope embraces Raimondo like a lover. There are multiple scenes where Parthenope looks like she is about to kiss Raimondo on the lips like a lover, and then the camera quickly cuts away.

Viewers are told in the movie that Sandrino has also been in love with Parthenope since childhood. Sandrino is the son of the housekeeper who works for Parthenope’s family. Parthenope and Sandrino become lovers as adults in 1973, so expect to see Raimondo glaring and pouting in envy when he sees Parthenope and Sandrino being lovey-dovey with each other. Not much is revealed about the siblings’ family except they appear to be affluent, based on what their waterfront home looks like. Raimondo’s creepiness is excused as Raimondo being “fragile,” which is the word that someone uses to describe Raimondo in the movie.

What’s so special about Parthenope besides her beauty? Nothing. Time and time again, the movie shows that she doesn’t have a charismatic personality, impressive intellect or even the ability to pretend that she has either of those qualities. This movie is just a collection of scenes of Parthenope interacting with people and fielding or making sexual advances or flirtations. There’s not even any sexual heat or spicy sex scenes in these interactions. Everything looks so staged and fake.

Even her anthropology professor Devoto Marotta (played by Silvio Orlando) can’t seem to resist Parthenope, although he’s one of the few men in the movie who doesn’t try to have sex with her or look at her with lust. Professor Marotta, who wants to be Parthenope’s mentor, gives Parthenope perfect scores for her grades, even though the movie shows no evidence that Parthenope is smart enough to earn those grades. Showing up in class and being handed those grades doesn’t count as evidence, especially when Parthenope admits in a classroom scene that she doesn’t even know what anthropology is.

Parthenope doesn’t have the curiosity of someone who is truly interested in anthropology. Maybe that’s why the movie barely shows her being an anthropology student and mostly shows her as a young woman who wanders from upscale place to upscale place and soaks up the attention she gets wherever she goes. Parthenope doesn’t seem to have any friends other than Sandrino, nor does she seem interested in making any friends.

The movie makes Parthenope’s restlessness a contrivance because she’s supposedly unsure about what she wants to do with her life. At a posh hotel’s restaurant, she meets famous British author John Cheever (played by Gary Oldman), who’s drunk and who heaps this compliment on her: “Are you aware of the distractions your beauty causes?” That’s enough for Parthenope to engage in a conversation with him because she’s thinking maybe she could be a writer too and John can be a valuable connection.

During this conversation, a talent agent named Lidia Rocca ([played by Emanuela Villagrossi) happens to be at a nearby table and approaches Parthenope to tell her that she’s so beautiful, she should be an actress. Lidia gives her business card to Parthenope. It doesn’t matter that this talent agent doesn’t actually know if Parthenope has acting talent because the movie is all about showing that Parthenope has strangers who are immediately attracted to her, and these strangers either (1) want to do things for Parthenope and/or (2) want Parthenope to do sexual things for them.

John gives more compliments to Parthenope, but he’s so drunk, Parthenope has to help him up to his hotel room. At one point in the hotel room, she’s stripped to nothing but a bikini bottom and wearing a towel. Just when she thinks this “seduction” is going a certain way, John confesses: “I could fall in love with you if I could prove to myself that I don’t like men.”

And faster than you can say “John’s not going to be Parthenope’s sugar daddy,” Parthenope loses interest in John and instead has to console herself by flashing her naked breasts at a teenage guy who’s pruning some of the flowers on an adjacent balcony. This guy is enthralled, of course, and when he extends his hand to give her a flower, Parthenope just giggles and runs away. Yes, it’s that type of movie.

Other people who encounter Parthenope in this superficial parade of banality are an acting coach named Flora Mallow (played by Isabella Ferrari); an unnamed cardinal/senior bishop (Peppe Lanzetta) during a ritual involving the liquefaction of San Gennaro’s blood; and a diva-like actress named Greta Cool (played by Luisa Ranieri), who is supposed to be a Sophia Loren type of movie star. Parthenope has awkward-looking encounters with all of these people, some of whom are inevitable sexual predators who abuse their power.

“Parthenope” throws in a sci-fi element in the last third of the film. It comes from out of nowhere and looks very pretentious. A storyline showing Parthenope at 73 years old (played by Stefania Sandrelli) also looks clumsily tacked-on near the end of the movie. It looks like writer/director Sorrentino struggled to come up with a way to fill up time for the movie because apparently there’s some kind of unwritten rule for “auteur” filmmakers that any movie they make has to be more than two hours long to be taken seriously as “art.”

The dialogue in “Parthenope” is simplistic and delivered in a wooden manner by most of the cast members. Dalla Porta sometimes shows some life in her acting, but in too many scenes, she has the flat personality of an artificial intelligence robot. Oscar-winning actor Oldman clearly did this movie for the salary and for the trip to Italy. It’s the only logical reason why Oldman agreed to deliver embarrassing lines such as when his character John says to Parthenope: “Beauty is like a war. It opens doors.”

At least John has an excuse: He’s supposed to be drunk when he utters such tripe. Sandrino is sober, and he’s reduced to acting like a lovesick puppy instead of being a fully formed adult human being. In an early scene in the movie, googly-eyed Sandrino asks Parthenope as he’s lurking near a window at her home: “Can I come in?” Parthenope answers, “You can circle the carriage.” She then uses the word “carriage” as a euphemism for her vagina. Who talks like that? Only people in awful movies like “Parthenope.”

After a while, “Parthenope” looks like a tiresome parody of the TV commercials that Gucci had when 1970s-obssesed Alessandro Michele used to be Gucci’s creative director. There’s a lot of “bohemian chic”/”boho chic” fashion and interior design on display. The characters move and talk as if they’ve taken too much Valium. How very 1970s but also how very boring to watch.

When troubled author John says that beauty opens doors, he didn’t mention that it depends on what types of doors can be opened with beauty. In the case of “Parthenope,” the doors that are opened lead to a vacuous pit of self-indulgent and meaningless storytelling. Anyone looking for anything more should keep the doors of “Parthenope” firmly shut by not bothering to watch this monotonous and smug vanity project.

A24 released “Parthenope” in select U.S. cinemas on February 7, 2025.

Review: ‘The First Omen,’ starring Nell Tiger Free, Tawfeek Barhom, Sonia Braga, Ralph Ineson and Bill Nighy

April 4, 2024

by Carla Hay

“The First Omen”

Directed by Arkasha Stevenson

Some language in Italian with subtitles

Culture Representation: Taking place in Rome, in 1971, the horror film “The First Omen” (a prequel to “The Omen” movie series) features an all-white cast of characters representing the working-class and the middle-class.

Culture Clash: A young American nun arrives at a convent in Rome to take her final vows and finds out sinister things are happening at the convent.

Culture Audience: “The First Omen” will appeal primarily to people who are fans of “The Omen” movie series and horror movies that blend religious teachings with body horror.

Ralph Ineson in “The First Omen” (Photo courtesy of 20th Century Studios)

Creepy, gruesome and suspenseful, “The First Omen” has as much to say about demonic possession as it does about institutional control of female bodies. Impressive acting and some unpredictability make this horror movie one of the better “Omen” films. The end of “The First Omen” makes it clear that there’s a lot of potential for more storylines for multiple characters who are introduced in “The First Omen.”

Directed by Arkasha Stevenson, “The First Omen” is her feature-film directorial debut. Stevenson, Tim Smith and Keith Thomas wrote “The First Omen” screenplay. “The Omen” franchise started with the 1976 movie “The Omen,” which spawned sequels, TV series and a 2006 movie remake. In 1976’s “The Omen” (directed by Richard Donner and written by Davd Seltzer), a U.S. ambassador to Italy named Robert Thorn (played by Gregory Peck) and his wife Katherine Thorn (played by Lee Remick) adopted a son named Damien (played by Harvey Spencer Stephens), and the parents are horrified to discover that Damien is a child of the devil. “The First Omen” shows how Damien was born and there is more to the story than what many viewers might assume.

“The First Omen” (which takes place in 1971) begins with a slow-burn harrowing scene of two Catholic priests having a confessional conversation at a church in an unnamed location, as one of the priests talks about a woman who “volunteered” to be impregnated. But what really happened is shown on screen: A masked woman is strapped to a table and looking like a very unwilling volunteer. An elderly British priest named Father Harris (played by Charles Dance) is telling this story to a middle-aged Irish priest named Father Brennan (played by Ralph Ineson), who listens as Father Harris says about the impregnated woman: “She wasn’t conceived naturally.”

Father Harris, who claims to be one of the people involved in getting this mystery woman pregnant, adds this information about how the woman was impregnated: “What I can tell you is that the pregnancy happened quickly.” Father Brennan thinks that Father Harris has told him this story to ask for forgiveness. Father Harris says with an eerie smirk: “You think I want to be forgiven? It’ll be all over. You’ll understand soon enough.”

Father Harris then steps outside and something bizarre happens: Shards of stained glass come plummeting down on his head. Father Harris seems to be uninjured, until the back of his head shows a large, gaping wound that he cannot survive. Before he dies, Father Harris gives a disturbing smile that shows his teeth are bloody.

This scene sets the tone for the rest of “The First Omen,” which has some uniquely effective horror images and scenarios, along with some horror clichés. Although “The First Omen” takes place in 1971, many of the movie’s themes are timeless. It’s not a preachy movie, but there are some very obvious messages about discontent with government, as well as how much religion can or should have control in people’s lives.

Because it’s not a secret that “The First Omen” is about how the anti-Christ known as Damien was born, much of the mystery in the movie is about who will give birth to Damien. Observant viewers will figure out the answer to the mystery when the birthdate of a certain character is shown. The movie is not as simple and straightforward as it first appears to be.

After the scene showing Father Harris’ death, “The First Omen” then takes place in Rome (where the movie was filmed) and shows the arrival of a young American nun in her early 20s named Margaret (played by Nell Tiger Free), nicknamed Maggie. She is warmly greeted by a British clergyman named Cardinal Lawrence (played by Bill Nighy), who meets her at the train station. Margaret has arrived to live at a convent, where she will be taking her final vows.

Cardinal Lawrence, who invited Margaret to Rome, is the one who will officiate the vow ceremony. As she and Cardinal Lawrence drive through the streets of Rome, they see crowds of activists (mostly young adults) holding protest marches in the streets and sometimes blocking traffic. Cardinal Lawrence explains to Margaret that the activists are protesting unfair wages. He laments to Margaret that the younger generation is turning against religious institutions and “no longer looks to us for guidance. Perhaps you’ll win back their trust.”

It’s later revealed through conversations that Margaret grew up as an orphan in Pittsfield, Massachusetts. Margaret has lived a very sheltered existence and is a virgin who has no experience with dating. The thought of doing something such as going to a nightclub terrifies her, because she thinks it’s sinful activity. Margaret is devoutly religious and does a lot of fervent praying every time she thinks she commits a sin, no matter how minor the sin might be.

Margaret will soon have her boundaries tested when she meets her free-spirited Italian roommate named Luz Valez (played by Maria Caballero), a novitiate who is also in her 20s and is about to take her final vows. The first time that Margaret and Luz meet, Luz has just arrived in their room after a night of partying. Luz is dressed in a black leather miniskirt and is wearing fishnet stockings.

Luz tells a shocked Margaret that there’s nothing wrong with having fun and showing off their bodies before they take their final vows, since the nun outfits they have to wear will cover up ther bodies. Luz convinces a reluctant Margaret to dress in a sexy outfit, put on makeup, and go with Luz to a nightclub. At the club, Margaret and Luz immediately attract the attention of two young men named Paolo (played by Andrea Arcangeli) and Alfonzo (played by Guido Quaglione), who offer to buy Margaret and Luz some drinks.

Eventually they pair off: Luz and Alfonzo end up dancing together, while Margaret and Paolo start off with an awkward conversation but loosen up with each other when they both find out that they are fans of Barbra Streisand. Margaret eventually begins drinking some alcohol too and begins dancing seductively with Paolo. Based on the way Margaret acts, this is the first time she has had these type of experiences.

The convent operates Vizzardeli Orphanage, which is the home of 62 girls, mostly in the age range of 6 to 11 years old. Margaret is one of the nuns who teach the orphans. Margaret strikes up a friendly acquaintance with a young priest named Father Gabriel (played by Tawfeek Barhom), who often visits the convent and who seems to know more than he is telling. Someone who isn’t very friendly to Margaret is Sister Anjelica (played by Ishtar-Currie Wilson), who has a very cold attitude to Margaret and who appears to be mentally ill.

Margaret soon begins to notice strange things are happening at the convent, which is ruled by an abbess named Sister Silva (played by Sonia Braga), a stereotypically stern nun. Not only does Margaret have nightmares, she also sees some terrifying things happening in real life. A few of those things have to do with what Margaret witnesses in the maternity ward’s delivery room.

One of the orphans is slightly older than the rest. Her name is Carlita Skianna (played by Nicole Sorace), who is about 14 or 15 years old. Carlita is quiet and appears to be a troubled child. Margaret slowly beings to get Carlita to communicate with her, but Margaret sees that Carlita is being secretly punished on orders of Sister Silva. Carlita frequently draws illustrations with some unsettling images. Based on one of the illustrations, Margaret begins to suspect that Carlita might be pregnant.

The release of “The First Omen” happened just two weeks after the release of “Immaculate,” another horror movie about a young American virgin nun arriving at a Catholic convent in Italy to take her final vows and then finding out about a very unholy pregnancy. Both movies also have issues about women losing control of their bodies when powerful forces want to dictate what can be done with their bodies. However, “The First Omen” is a genuinely scarier horror film than the somewhat campy “Immaculate.”

“The First Omen” starts of a bit slow and repetitive, but the second half of the movie is much better than the first half. “The First Omen” benefits greatly from Free’s riveting and believable performance as Margaret, who transforms from vulnerable and naïve to someone whose innocence is lost as she has to learn to defend herself against forces of evil. There’s an intense scene toward the end of the movie that is absolutely stunning in the physical and emotional acting involved to make the scene as effective as it is.

“The First Omen” (which has gorgeously Gothic-inspired cinematography by Aaron Morton) also explains why Damian was conceived in the first place. This explanation might be controversial with some religious conservatives. What makes “The First Omen” intriguing is how this movie opens up the possibility of spinoffs or sequels for characters whose stories need to be told. “The First Omen” succeeds not only as a prequel but as a gateway for another potentially fascinating world in “The Omen” franchise.

20th Century Studios will release “The First Omen” in U.S. cinemas on April 5, 2024.

Review: ‘A Haunting in Venice,’ starring Kenneth Branagh, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Kelly Reilly and Michelle Yeoh

September 9, 2023

by Carla Hay

“A Haunting in Venice”

Directed by Kenneth Branagh

Some language in Italian and Latin with subtitles

Culture Representation: Taking place in 1947, in Venice, Italy, the horror film “A Haunting in Venice” (based on Agatha Christie’s novel “Hallowe’en Party”) features a nearly all-white cast of characters (with one Asian) representing the working-class, middle-class and wealthy.

Culture Clash: Famous and super-intelligent Belgian detective Hercule Poirot comes out of retirement to solve the murder of someone who died a gruesome death during a Halloween party séance.

Culture Audience: “A Haunting in Venice” will appeal primarily to people who are fans of Agatha Christie novels, the movie’s headliners, and competently told murder mysteries with supernatural elements.

Rowan Robinson and Kelly Reilly in in “A Haunting in Venice” (Photo courtesy of 20th Century Studios)

“A Haunting in Venice” is another efficient but not exceptional offering in director/star Kenneth Branagh’s star-studded series of murder mystery films based on Agatha Christie novels. This horror movie delivers enough intrigue to outweigh some motonony. The other Branagh-directed movies adapted from Christie novels were dramas with no supernatural elements to the stories. “A Haunting in Venice” is a ghost story that makes famed Belgian detective Hercule Poirot (played by Branagh) question his belief that ghosts don’t exist.

As the third film in a series of Hercule Poirot movies directed by Branagh, “A Haunting in Venice” is the one that is literally the darkest, not just in terms of the cinematography but also in its emotional tone. The previous two Branagh-directed Hercule Poirot movies—2017’s “Murder on the Orient Express” and 2022’s “Death on the Nile”—contrasted their glamorous locations with the ugly realities of murder among rich and beautiful people. In “A Haunting in Venice,” Detective Poirot and his group of potential suspects not only have to deal with the murder investigation but also the possibility that a ghost might be in their midst, in a gloomy palazzo that has lost a lot of its former attractiveness.

Michael Green adapted the screenplay for “A Haunting in Venice” from Christie’s 1969 novel “Hallowe’en Party.” The movie (which takes place in 1947 and was filmed on location in Venice, Italy) has some touches of comedic riffs between a few of the characters. But for the most part, it’s a pure horror story, with multiple scenes of possible spirits possessing and terrifying living human beings. The ever-logical and fact-finding Hercule remains deeply skeptical about the existence of ghosts, until he starts to wonder if he might be wrong.

In the beginning of “Haunting in Venice,” Hercule is enjoying his retirement asa resident of Venice, a city surrounded by water and where boats, not trains or buses, are the main form of group transportation. Hercule meets up with his sarcastic American friend Ariadne Oliver (played by Tina Fey), an author of mystery novels whose career has been fading because of her most recent books have flopped. It’s established early on that Ariadne is desperate for a comeback, even though she doesn’t really want to admit it to everyone.

The friendship between Ariadne and Hercule goes back to the 1930s. And it hasn’t been an entirely smooth relationship. Ariadne became a popular author because she based her main detective character on Hercule, without asking his permission. It’s caused some tension between Ariadne and Hercule.

Ariadne has a plan to make a comeback by writing a book with a new angle: Ariadne wants the main plot of her next book to be based on a real-life person who can leave Hercule confounded during a murder investigation. She has already decided that the person who can outwit Hercule is someone who has been making a living as a renowned psychic: Joyce Reynolds (played by Michelle Yeoh), who claims to have the ability to speak to the spirits of dead people.

Ariadne tells Hercule about a lavish nighttime Halloween party that retired British opera singer Rowena Drake (played by Kelly Reilly) is hosting for local orphaned children at Rowena’s palazzo, which used to be an orphanage where children were mistreated. The palazzo isn’t entirely run-down, but it’s not exactly in the best of shape. In fact, it has a reputation for possibly being haunted by children who died at this location.

Ariadne has been invited to this party and wants to bring Hercule as her guest. Ariadne is up front with Hercule in saying that she’s not going to the party because of the orphans. Ariadne wants to go to the party because Rowena will be having a séance where single mother Rowena hopes to contact the spirit of her young adult daughter Alicia Drake (played by Rowan Robinson, shown in flashbacks), who died one year ago, after falling from a balcony at the palazzo. The fall is widely believed to have been a suicide, since Alicia had been depressed and dealing with other mental health issues after a breakup from her fiancé.

Joyce has been hired to be the psychic who will lead the séance. Ariadne wants to use what happens at the séance as the basis for Ariadne’s next book. Hercule doesn’t believe in the afterlife. He thinks it’s utter nonsense to believe that ghosts exist. Ariadne is very superstitious and thinks ghosts can exist. Part of Ariadne’s agenda is to get Hercule to change his mind.

Needless to say, someone ends up being murdered at the party, and Hercule ends his retirement to investigate the murder. The death happens when this murder victim is thrown from a stairwell onto a statue that impales the person. As shown in the trailer for “A Haunting in Venice,” Hercule almost gets murdered himself, when someone tries to drown him by forcing his head underwater in a bucket meant for bobbing for apples. And viewers will not be surprised if more than one person ends up dead by the end of “A Haunting in Venice.”

Some viewers might ask themselves while watching the movie: “What kind of person throws a séance during a party for children?” It’s explained that Rowena has been distraught with grief, ever since the death of her only child, Alicia. Rowena’s relationship with Alicia is described as more like sisters rather than mother/daughter. She was also very protective of Alicia.

The children are in another part of the palazzo during the séance, but things start to get dangerous when a huge chandelier falls down in the middle of a room where some of the children are. Luckily, no one is hurt. The party for the orphans essentially ends, but the séance continues, with one child in attendance who is not an orphan: Leopold Ferrier (played by Jude Hill) is the precocious 10-year-old son of widower Dr. Leslie Ferrier (played by Jamie Dornan), who is the Drake family’s personal physician. (Dornan and Hill also played a father and a son in director Branagh’s autobiographical Oscar-winning 2021 film “Belfast.”)

Dr. Ferrier is also a World War II veteran who has post-traumatic stress disorder, which has damaged his career and negatively affected his relationship with his son. Leopold and his father are both British. Multiple times in the movie, it’s mentioned that Dr. Ferrier was very fond of Alicia. The implication is that he was in love with her, but he did not cross the line and kept a professional relationship that a doctor has to have with a patient.

Leopold is the only child who is allowed to be at the séance. Why? The movie shows that Leopold’s father has been so wrapped up in his own problems, Leopold often doesn’t have much adult supervision. Leopold is not afraid to tell adults how he thinks he knows more than they do. At one point he says to psychic Louisa: “I talk to ghosts all the time. They say you’re fake.” In other words, Ariadne isn’t the only one in this group with a sassy attitude.

Louisa is also a diva, but she’s much more of a control freak than Ariadne. It should come as no surprise that she clashes with Hercule, who thinks people who make money as psychics are really con artists. However, Louisa (who used to be a war nurse) and Hercule have something in common: They both experienced trauma by witnessing the horrors of war during World War I. Flashback scenes in “Death on the Nile” showed glimpses into Hercule’s war experiences.

It wouldn’t be a movie based on a Christie novel without several murder suspects. After the first murder happens, Hercule orders everyone to stay in the mansion until he solves the murder mystery. One of the people confined to the house is Olga Seminoff (played by Camille Cottin), the Drake family’s devoted housekeeper. Olga is a very religious widow who used to be a nun, but she left her nun life behind when she fell in love with her future husband. Olga, who often speaks in Latin, is very open about her feelings that the séance is religiously wrong, because it’s meant to conjure up the spirit of a dead person.

Other suspects include Joyce’s two assistants: Nicholas Holland (played by Ali Khan) and his sister Desdemona Holland (played by Emma Laird), who are two orphaned young adults from Eastern Europe. Nicholas and Desdemona don’t say a lot and often seem to fade into the background, but their personal history is eventually revealed. Hercule already thinks that Louisa is a fraud as a clairvoyant, so he suspects that Nicholas and Desdemona are at least guilty of being Louisa’s accomplices in a con game.

A surprise and unwelcome guest at this séance is Alicia’s former fiancé Maxime Gerard (played by Kyle Allen), a cocky American chef from New York City. Even before Alicia’s death, Rowena intensely disliked Maxime, because she felt that Maxime was a gold digger who was after the Drake family fortune. Rowena blames Maxime for breaking Alicia’s heart and indirectly causing Alicia’s death. Maxime, who claims his love for Alicia was real, announces during this gathering that he’s going to be rich because he’s got his own restaurant in New York City.

No one is immune to being a suspect, not even Vitale Portfoglio (played by Richard Scamarcio), a retired policeman who is now Hercule’s bodyguard. A police officer who becomes part of the investigation is Vincenzo Di Stefano (played by Fernando Piloni), who was also on the scene after Alicia died. Hercule becomes convinced that Alicia’s death is somehow related to the murder that happened during this party.

“A Haunting in Venice” has lot of the traditional “jump scares” found in movies where a séance takes place in a mansion with a reputation for being haunted. What’s more interesting is to see the psychological effect that these “ghost sightings” have on Hercule, who is the biggest ghost skeptic in the group. He starts to wonder if he’s hallucinating, which shakes his confidence about his mental capacity to logically solve the crimes that have occurred during this gathering.

Branagh has a comfortable handle on this beloved and quirky detective character, so watching “A Haunting in Venice” is interesting to see this new side to Hercule. Yeoh has a very commanding and impressive presence as Joyce, who thinks she’s the best psychic in the world. Reilly’s performance as the emotionally fragile Rowena remains compelling throughout the film.

Fey puts her comedic talent to good use in her performance as Ariadne, who isn’t as sour and annoying as this author character could have been, because of the way that Fey delivers the lines. Hill is a scene stealer as Leopold, while Allen’s depiction of Maxime and Dornan’s portrayal of Leslie show different versions of emotionally wounded men. The rest of the characters in the movie are fairly two-dimensional and don’t have much depth.

The cinematography of “A Haunting in Venice” (which takes place mostly at night) is bathed in a lot dark gold and brown for interior scenes and dark blue for the nighttime exterior scenes. Because most of the movie takes place inside a house, viewers won’t get to see much of Venice’s outdoor beauty, but when it’s shown, it looks gorgeous. The production design is top-notch. Branagh’s overall direction is quite stylish but occasionally stodgy.

As for the mystery itself, there comes a point in the movie where it might be easy for some viewers to figure out who’s guilty of the crimes. People who know enough about murder mystery stories know that the best ones have surprising elements, even when there are clues that point to the guilty party. Whether or not viewers solve the mystery before the movie ends, “A Haunting in Venice” remains an entertaining journey along the way and should satisfy people who are fans of Christie’s classic novels.

20th Century Studios will release “A Haunting in Venice” in U.S. cinemas on September 15, 2023.

Review: ‘The Equalizer 3,’ starring Denzel Washington, Dakota Fanning and David Denman

August 29, 2023

by Carla Hay

“The Equalizer 3”

Directed by Antoine Fuqua

Some language in Italian with subtitles

Culture Representation: Taking place in various cities in Italy, the action film “The Equalizer” has a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and criminal underground.

Culture Clash: Vigilante crusader Robert McCall does battle against Mafia gangsters in Italy, as he crosses paths with a U.S. DIA (Defense Intelligence Agency) official, who is on the trail of drug-smuggling terrorists.

Culture Audience: “The Equalizer 3” will appeal primarily to people who are fans of star Denzel Washington and “The Equalizer” movie franchise, but “The Equalizer 3” is blandly predictable and doesn’t offer anything innovative to the franchise.

Giorgio Antonini and Andrea Scarduzio in “The Equalizer 3” (Photo by Stefano Montesi/Columbia Pictures)

Even with the acting talent of star Denzel Washington, “The Equalizer 3” is a soulless, formulaic and often idiotic action flick about the protagonist fighting Mafia gangsters in Italy. It’s easily the worst movie of this franchise. New characters are introduced but are barely developed. The movie’s “plot reveal” is not surprising at all.

Directed by Antoine Fuqua and written by Richard Wenk, “The Equalizer 3” is the follow-up to 2014’s “The Equalizer” and 2018’s “The Equalizer 2,” which were also directed by Fuqua and written by Wenk. All of these movies are inspired by “The Equalizer” TV series, which starred Edward Woodward and was on the air from 1985 to 1989. The lazy screenplay of “The Equalizer 3” is the weakest link in the movie.

“The Equalizer 3” is the type of mindless story that’s in a low-quality action flick, but “The Equalizer” has the high budget of a major studio movie. In other words, “The Equalizer 3” looks slick, and it has the star appeal of Washington, but it’s ultimately a very hollow movie with a basic plot that’s been seen and done many times before in other action movies where the “hero” fights gangsters. Just because “The Equalizer 3” changed the story’s location to Italy (the first two “Equalizer” movies took place in Boston) doesn’t mean that “The Equalizer” has anything new and interesting to say.

The opening scene of “The Equalizer” takes place in Sicily, Italy, and shows a crime lord named Lorenzo Vitale (played by Bruno Bilotta) driving himself and his unnamed grandson (played by Adriano Sabrie) in a Land Rover to a house in a fairly secluded area. While his grandson (who’s about 11 or 12 years old) waits in the car, Lorenzo is greeted by an armed security guard, who shows Lorenzo the massacre that took place inside the house. The bloodied bodies of about eight or nine men are shown in various places throughout the house.

In one of the house’s rooms, the man who caused this massacre is being held at gunpoint by two thugs. This vigilante is a loner named Robert McCall (played by Washington), a former U.S. Marine and a former U.S. Defense Intelligency Agency (DIA) official, who is based in Boston and currently makes a living in working-class jobs. (Robert worked at a hardware store in “The Equalizer” and as a Lyft driver in “The Equalizer 2.”) Robert’s skills as a former government assassin come in handy when he goes on his vigilante missions.

What is Robert doing in Italy? And what does he have against Lorenzo? Robert snarls to Lorenzo: “You took something that didn’t belong to you. I’m here to take it back.” Through some highly implausible fight tactics, Robert then proceeds to kill everyone in the house. Most of the murder scenes in “The Equalizer 3” are very graphic and seem to revel in the violence. For example, when Robert murders everyone in the house, he shoots a man through the eye so that the bullets can shoot another man.

Robert thinks he can make an easy getaway, but he doesn’t know until it’s too late that Lorenzo’s grandson is outside. Lorenzo’s grandson has a shotgun that he uses to shoot Robert, who fires his gun in the air. This gunfire scares the boy, who runs away. Robert soon finds out he’s been shot in the back. Robert is able to get in his car before he starts to lose consciousness.

Robert is found unconscious in his car and rescued by a local man, who brings Robert to a doctor named Enzo Arisio (played by Remo Girone), who performs surgery on Robert in Enzo’s home. Why didn’t Enzo take Robert to a doctor or contact police? Enzo lives in an area that is ruled by the Mafia, so he knows that when a stranger with a gunshot wound is in the area, there’s a good chance it has something to do with the Mafia.

Enzo asks Robert what his name is, and Robert says his name is Roberto. Enzo then asks Robert if he is a good man or a bad man. Robert says that he doesn’t know. Enzo doesn’t ask any more questions and decides to let Robert stay in Enzo’s house while Robert recovers from his injuries and surgery. Enzo tells Robert that Robert is lucky that he was shot with a .22 caliber bullet instead of a more high-impact bullet.

After the fight/killing scene in the beginning of “The Equalizer 3,” not much happens in the movie for the next 20 minutes. Robert is seen walking around with a cane, as he gets to know Enzo and some of the other local people. Eventually, Robert no longer has to use a cane. For someone who was shot in his back, Robert makes a remarkably quick recovery. The movie doesn’t bother to show Robert go through any realistic physical therapy.

Robert becomes friendly with a generous and amiable restaurateur named Angelo (played by Daniele Perrone), whose employees include a cook in his late teens or early 20s named Khalid (played by Zakaria Hamz) and a server in her 30s named Aminah (played by Gaia Scodellaro), who shows a semi-romantic interest in bachelor Robert. Aminah literally doesn’t do much in this movie but smile a lot, work in the restaurant, and show Robert some of her favorite food places in the area. Aminah’s presence in the movie has no effect on the overall plot.

There aren’t many female characters with speaking roles in “The Equalizer 3.” The female characters who speak are only in this movie to react to whatever the men do. There are many superficial male characters in “The Equalizer 3,” but at least they are given more to do and have more action-oriented roles. The women in “The Equalizer 3” who have the most dialogue in the movie all look like overly polished and attractive actresses instead of looking more realistic for their roles.

Angelo owes money to local gangsters who are led by the ruthless Vincent Quaranta (played by Andrea Scarduzio), a not-very-interesting stereotype of a Mafia leader. Vincent has his equally sadistic younger brother Marco Quaranta (played by Andrea Dodero) do a lot of the dirty work for the gang. All the gangsters except Vincent and Marco are generic with forgettable dialogue. There’s also a Mafia cartel called the Camorra crime family that figures into the plot.

During his stay in Italy, Robert makes a phone call to DIA official Emma Collins (played by Dakota Fanning) at her headquarters in the United States. Emma is later revealed to have a connection to people whom Robert knew in his past. (This connection is fairly easy to predict.)

Robert passes along an “anonymous” tip to Emma about drug smuggling of synthetic amphetamines in Italy. Emma is immediately able to trace the call and find out who made the call. And it isn’t long before Emma arrives in Italy and makes contact with Robert. Emma’s supervisor Frank Conroy (played by David Denman) occasionally shows up to give orders.

“The Equalizer” takes place in various locations in Italy, including Sicily, Rome and Naples. There’s some moronic mush in the plot about the connection between the drug smuggling and terrorism. But that potentially intriguing story is just a backdrop to the movie’s ultra-violent but ultimately quite tedious scenes involving fighting, torturing and killing. No one is expecting “The Equalizer 3” to be award-worthy, but this shallow movie really insults the intelligence of viewers on the most basic levels, with its dull ripoff ideas, far-fetched scenarios and stupid dialogue.

A local police marshal named Gio Bonucci (played by Eugenio Mastrandrea), his wife Chiara Bonucci (played by Sonia Ben Ammar) and their daughter Gabriella “Gabby” Bonucci (played by Dea Lanzaro) are among the targets for the gangster violence. The local police, led by Police Chief Barella (played by Adolfo Margiotta), might or might not be trustworthy, depending on their level of ethics or corruption. All of these supporting characters are either very underdeveloped or are cartoonish caricatures.

“The Equalizer 3” is the type of idiotic movie where the villain in charge could easily kill the “hero” in the middle of a violent fight scene, but instead the villain just glares and makes threats with a weapon in his hand. There are some overly choreographed fight scenes that might impress some viewers, but it all just looks so phony. Washington’s charisma is mostly muted in “The Equalizer 3,” which makes Robert into nothing more than the type of two-dimensional character that might be in a video game. “The Equalizer 3” has some lovely aerial shots of Italy’s landscape, but the ugly truth is that “The Equalizer” is too much of a disappointing slog of missed opportunities to be a genuinely unique and exciting action film.

Columbia Pictures will release “The Equalizer 3” in U.S. cinemas on September 1, 2023.

Review: ‘Dead Girls Dancing,’ starring Luna Jordan, Noemi Liv Nicolaisen, Katharina Stark and Sara Giannelli

June 17, 2023

by Carla Hay

“Dead Girls Dancing”

Directed by Anna Roller

German and Italian with subtitles

Culture Representation: Taking place in 2021, in Germany and in Italy, the dramatic film “Dead Girls Dancing” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: Three German female friends, who are all recent graduates of high school, go on a road trip to Italy, where they meet a rebellious teenager, and get up to some mischief with her.

Culture Audience: “Dead Girls Dancing” will appeal primarily to people who are interested in female-oriented coming-of-age stories that explore teenage rebellion and sexuality.

“Dead Girls Dancing” is an uneven but well-acted drama about teenagers on a road trip that’s more than what it first appears to be. It’s also a journey of a closeted queer teenager who’s taking tentative steps out of the closet and yearning to connect with someone with whom she can be her true self. The movie has a meandering quality that sometimes drags down the pace. However, the deeper meaning behind the story becomes very apparent in the last 20 minutes of film, where there’s an emotional powerful moment that’s at the heart of the story. “Dead Girls Dancing” had its world premiere at the Tribeca Festival in New York City.

Written and directed by Anna Roller, “Dead Girls Dancing” takes place in 2021. The movie’s opening scene shows a montage of German high school students taking their class pictures for their last year in high school. (The cities where this movie takes place are never mentioned.)

Most of the teens smile or make goofy faces for the camera, except for 18-year-old Ira Noe (played by Luna Jordan), who stares solemnly at the camera while her photo is being taken. Ira, who is a quiet introvert, has an air of sadness about her. As time goes on, observant viewers will notice that Ira’s tendency to be withdrawn probably has a lot to do with her being a closeted queer woman.

Ira isn’t a compete loner. Her two best friends are also in the same graduating class. Ka (played by Noemi Liv Nicolaisen) is a talkative and extroverted blonde who is the most rebellious of the trio. Malin (played by Katharina Stark) is fun-loving and is more attuned to what Ira might be feeling emotionally. After they graduate from high school, the three teenage pals decide to take a road trip through Italy, using a car owned by Malin’s father.

“Dead Girls Dancing” is mainly about this road trip and how it changes the lives of Ira, Ka, Malin and another teenager close to their age whom they meet in Italy. After a long day of driving, the trio stops at a hostel (the closest lodging for miles) to get a room. But to their disappointment, there are no rooms available at the hostel.

Outside the building, there’s a teenage woman who has her own room. Ira, Ka and Malin all need to use a restroom, so Ira approaches this stranger to explain the situation and to ask her the unusual request for all three of them to use her hostel restroom. The stranger introduces herself as Zoe (played by Sara Giannelli) and agrees to this request in a friendly manner. Zoe says she is an orphan who has been on her own “for a while.”

After Zoe invites Ira, Ka and Malin into her room, they all form an instant rapport. Ira’s attraction to Zoe indicates that she hopes that Zoe could become more than a friend, but Ira is too shy to make the first move. The four teens get caught smoking marijuana in the room by the hostel manager. Before they can be thrown out, Zoe impulsively decides to take off (without paying her hostel bill) with her three new acquaintances and join them on the road trip.

But a major problem occurs when the car breaks down in a remote area. The insurance company for the car says that the company won’t be able to send mechanic help in the area for the next 48 hours. In the meantime, Ira, Ka, Malin and Zoe walk to the nearest village, which is completely deserted because it has been evacuated due to impending wildfires. The rest of “Dead Girls Dancing” shows what happens when these four teens are left to their own devices in this temporarily abandoned village.

Not surprisingly, something else goes very wrong besides a car malfunctioning. Unfortunately, the middle section of the movie gets repetitive with scenes of the four teens goofing off and partying in the deserted village, including getting drunk in an abandoned church. But these party scenes also show the undercurrent of attraction that Ira has for Zoe, who senses Ira’s attraction and flirts with her.

“Dead Girls Dancing” doesn’t really get interesting until something else goes wrong on the trip. It’s the catalyst for all of the teens, especially Ira, to have a reckoning with who they are and what type of moral character they have. The potential relationship between Ira and Zoe is also affected.

Jordan’s nuanced performance as a sexually repressed queer woman succeeds in filmmaker Roller’s intention for it to be the standout performance of “Dead Girls Dancing,” which has effective cinematography from Felix Pflieger. There’s a scene showing Ira going through a quiet devastation that is the defining moment of the movie. Viewers who have the patience to watch a somewhat disjointed and rambling film will find these authentically portrayed scenes as a worthwhile reason to watch “Dead Girls Dancing.”

Review: ‘The Pope’s Exorcist,’ starring Russell Crowe, Daniel Zovatto, Alex Essoe and Franco Nero

April 13, 2023

by Carla Hay

“The Pope’s Exorcist”

Directed by Julius Avery

Some language in Italian, Spanish and Latin with subtitles

Culture Representation: Taking place in 1987, in Italy and in Spain, the horror film “The Pope’s Exorcist” (based on a real person) features a predominantly white cast of characters (with a few Latinos and black people) representing the working-class and middle-class.

Culture Clash: Catholic priest Gabriele Amorth defies a cardinal’s orders not to perform exorcisms, and the priest is sent by the Pope to do an exorcism on a boy at an abbey in Spain that has a connection to the priest’s past.

Culture Audience: “The Pope’s Exorcist” will appeal primarily to people who are fans of star Russell Crowe and exorcism horror movies, but the movie’s frequently ludicrous plot and oddly placed comedy make it a substandard horror flick.

Pictured clockwise, from upper left: Peter DeSouza-Feighoney, Russell Crowe, Daniel Zovatto and Alex Essoe in “The Pope’s Exorcist” (Photo courtesy of Screen Gems)

In “The Pope’s Exorcist,” Russell Crowe hams it up as an Italian priest who performs exorcisms. But the jokes aren’t funny enough to make “The Pope’s Exorcist” a comedy, and the exorcisms aren’t scary enough to make it an effective horror movie. It’s just a loud and incoherent mess. The demon-fighting, alcohol-guzzling priest portrayed by Crowe comes across more like a drunk who’s a failed stand-up comedian than a formidable clergy person who is skilled at exorcism.

Directed by Julius Avery, “The Pope’s Exorcist” clearly wanted to make the movie’s title chararacter someone who isn’t a typical exorcist. But all the mediocre and often-cheesy jokes in the film just undermine the scenes that are supposed to be deadly serious. It’s a movie that tries to be amusing and terrifying and ultimately fails at being either or both. Michael Petroni and Evan Spiliotopoulos wrote the disjointed screenplay for “The Pope’s Exorcist.” The screenplay is based on 1990’s “An Exorcist Tells His Story” and 1992’s “An Exorcist: More Stories,” two of the memoirs of real-life controversial Catholic priest Gabriel Amorthe, who was the official exorcist for the Diocese of Rome, from 1986 to 2016. Amorthe died in 2016, at the age of 91.

“The Pope’s Exorcist” opens with a scene taking place in June 1987, when Father Gabriele Amorth (played by Crowe) visits a family at a farmhouse in Tropea, Italy, in order to perform an exorcism. (“The Pope’s Exorcist” was actually filmed in Ireland.) Father Amorth is accompanied by an assistant named Father Gianni (played by Alessandro Gruttadauria), who mostly just stands by while Father Amorth does the talking and exorcism rituals. The family has a son in his late teens named Enzo (played by River Hawkins), whom they think is possessed by the devil.

When Father Amorth and Father Gianni arrive at the farmhouse, Father Amorth saunters in and takes his time before he gets around to attending to the hissing and convulsing Enzo, who’s in a nearby bedroom. Father Amorth barely says anything to terrified parents Carlos (played by Jordi Collet) and Adella (played by Carrie Munro), who don’t say much to him either. Instead, Father Amorth zeroes in on the couple’s unnamed daughter (played by Laila Barwick), who’s about 7 or 8 years old.

Father Amorth asks the girl if she knows any prayers. She says she knows the Lord’s Prayer. Father Amorth tells her that she needs to keep repeating the Lord’s Prayer during the exorcism. The first thing that might go through some viewers’ minds is, “Why would a priest require a child this young to be involved in something this disturbing and possibly dangerous?” Most parents also wouldn’t want to put their child through the trauma of watching an exorcism.

But “The Pope’s Exorcist” wouldn’t exist if people acted realisitically in the movie. Even in the movie’s context of religious faith being more important than facts, too many people do things that look mindless and illogical. At any rate, the exorcism of Enzo looks like an unintentional parody of exorcisms, with the usual snarls and body contortions that are always seen in these types of movies. The expected “demon voice” is heard also coming from the possessed teen.

When Father Amorth asks the demon what its name is, demon replies: “I am Legion. I am Satan.” (The acting in this scene is horrendous.) Father Amorth than taunts the demon by saying if the demon is so powerful, the demon should be able to possess anyone in the room.

And what does the demon choose to do? The demon takes possession of an unlucky wild boar that’s in the room. Carlos quickly shoots the boar. The demon miraculously goes away. Enzo is no longer possessed. And that’s the end of that exorcism. Father Amorth is satisfied that he has completed another successful exorcism.

But not so fast. Father Amorth is later seen going to a stern meeting before a panel of five Catholic clergymen in July 1987. It’s a formal hearing in Rome, where Father Amorth is being reprimanded for performing that exorcism of Enzo in Tropea, because the exorcism was not officially authorized by the Vatican. Father Amorth also has to answer for other unauthorized exorcisms that he performed.

Father Amorth is a wisecracking “rebel” who tries to use prickly jokes and sarcasm to get himself out of contentious situations. He explains to the panel that 98% of the exorcisms he’s called to do aren’t real exorcisms. “They just need a little conversation … and a little theater.” Father Amorth says that 98% of the people he is told are possessed by the devil are people he refers to psychiatrists.

And what about the remaining 2% of those people? Father Amorth dodges answering that question. Most of the panel doesn’t say anything while Father Amorth defends himself. The person who does the most talking on the panel is Cardinal Sullivan (played by Ryan O’Grady), who is in his late 20s and is openly hostile to Father Amorth.

Father Amorth’s only real ally on the panel is Bishop Lumumba (played by Cornell John), who defends Father Amorth. Days before this meeting, Bishop Lumumba told Father Amorth in a private conversation: “Don’t worry, I will defend your faith.” Father Amorth replied, “My faith does not need defending.”

Cardinal Sullivan announces with a smirk that the Catholic Church will formally vacate the position of exorcist. In other words, Cardinal Sullivan is telling Father Amorth that he’s being fired as the Catholic Church’s chief exorcist for Rome. Father Amorth doesn’t accept that decision. Before the meeting is over, Father Amorth gets up and defiantly tells the panel, “If you have a problem with me, you talk to my boss.” Father Amorth then storms out of the room in a huff.

Meanwhile, an American family of three are driving to a dilapidated abbey in Castilleja, Spain. Julia Vasquez (played Alex Essoe) is a widow who inherited the abbey from her late husband Roberto Vasquez IV (played by Santi Bayón, briefly seen in a flashback), who died in a car accident a year ago. The abbey had been in Roberto’s family for years. In the car with Julia are her two children: rebellious daughter Amy Vasquez (played by Laurel Marsden) is about 15 or 16 years old, while obedient son Henry Vasquez (played by Peter DeSouza-Feighoney) is about 11 or 12 years old.

Conversations in the movie reveal that Julia is financially broke and has no income. The only thing that Roberto left for her in his will was the abbey. Julia has decided to relocate herself and the kids to Spain to refurbish the abbey and sell it, hopefully at a profit. It’s a move that Amy sulks and complains about in the movie, as Amy does things to annoy her mother, such as smoke a cigarette inside the church, flirt with the construction workers, and climb up on unsafe places in the abbey.

Julia is apparently so broke, she can’t afford to stay at a hotel, so she is staying with the kids in the priests’ living quarters at the abbey. It doesn’t take long for spooky things to start happening in the abbey, especially at night. A construction worker is severely burned by lighting a flare near a gas valve. (That’s not supernatural. That’s just stupidity.) This injury is enough for the foreman to have his construction crew quit working on the abbey.

And then the inevitable happens: One of the kids gets possessed by a demon. The unfortunate victim is mild-mannered Henry, who has been mute, ever since his father Roberto died. Henry was in the car during this fatal accident, and he witnessed his father get impaled.

But as soon as the demon possesses Henry, the boy begins to talk. And after being silent for a year, the first words out of Henry’s mouth are: “You’re all going to die.” And then he drags his fingernails hard on his face, leaving deep and bloody scratch marks.

Henry is possessed by a foul-mouthed and lecherous demon. While Henry is possessed, not only are his rants filled with curse words and threats, but he also sexually attacks his mother Julia, by grabbing and fondling her breasts without her consent. The demon yells through Henry: “This baby is hungry, you fat cow! You never breastfed me!”

The demon also demands, “Bring me the priest!” When a priest is brought to the possessed Henry, the priest is thrown across the room, as possessed Henry snarls: “Wrong fucking priest!” We all know which priest this demon wants for a showdown.

Somehow, the Pope (played by Franco Nero) finds out about this demon possession. And before you can say, “silly exorcism movie,” Father Amorth is seen having a one-on-one meeting at the Vatican with the Pope. (In 1987, Pope John Paul II was the leader of the Catholic Church. The Pope in “The Pope’s Exorcist” doesn’t act or sound like Pope John Paul II and has only a slight physical resemblance.)

In this private meeting, the Pope sends Father Amorth to the abbey in Spain to investigate this report of a boy being possessed. The Pope warns Father Amorth that this particular abbey has been problematic in the past for the Catholic Church. “Be careful,” the Pope tells Father Amorth. “This demon sounds dangerous.”

In Spain, Father Amorth meets the family and the young local priest who has been asked to help: Father Esquibel (played by Daniel Zovatto), who appears to be very pious and well-respected. Father Amorth sees for himself that Henry is indeed possessed. When Father Amorth asks the demon what its name is, the demon snarls, “My name is Blasphemy. My name is Nightmare.” Father Amorth quips, “My nightmare is France winning the World Cup.”

Father Amorth does a lot of zipping around on motor scooters, as if he’s some kind “on the go” exorcism delivery boy. Father Amorth is seen driving his Lambretto scooter for the trip from Italy to Spain. Apparently, the Catholic Church apparently doesn’t want to spend money on planes and trains for Father Amorth’s exorcism business trips. And when he’s not on his motor scooter, Father Amorth is gulping down drinks from his ever-present flask of alcohol.

“The Pope’s Exorcist” attempts to give the story some depth by showing that Father Amorth has a dark past that includes the death of a young woman named Rosaria (played by Bianca Bardoe), who is a sore subject for Father Amorth. The Rosaria character is in the movie, just to show another “supernatural force” on the attack against Father Amorth. As shown in flashbacks, there are other things that haunt this unconventional priest, including his experiences when he was in military combat as a young soldier in World War II.

Most of the action scenes in “The Pope’s Exorcist” are poorly staged and sloppily edited. Priests get thrown around and fall from tall heights in satanic brawls, but these priests emerge with no fractures or broken bones, which would surely happen in fights that are this violent. “The Pope’s Exorcist” is overly enamored with its adequate visual effects as being enough to make this movie terrifying. But it’s difficult to feel any terror when the exorcist is walking around cracking jokes.

“The Pope’s Exorcist” also seems to be making up exorcism rules as it goes along. Father Amorth says that he tells jokes because “The devil doesn’t like jokes.” In another part of the movie, he says the only way to get rid of a demon is to find out its real name. But that contradicts the earlier exorcism scene of Enzo being “cured” of demon possession because the demon possessed a boar that was quickly shot to death. And that exorcism doesn’t make sense either, because the demon spirit could still escape from a dead body and possess something or someone else nearby.

As the sardonic Father Amorth, Crowe seems fully game to lean into the wisecracking tone of “The Pope’s Exorcist.” The problem is that the rest of the cast members act like they’re in a life-or-death, grim horror film. Some of the supporting actors over-act and are just not believable in many of their scenes. “The Pope’s Exorcist” might give audiences some chuckles, but it’s the type of absurd horror movie that’s so bad, viewers are more likely to be laughing at it than laughing with it.

Screen Gems will release “The Pope’s Exorcist” in U.S. cinemas on April 14, 2023.

Review: ‘The Devil Conspiracy,’ starring Alice Orr-Ewing, Joe Doyle, Eveline Hall, Peter Mensah, Joe Anderson, Brian Caspe and James Faulkner

March 26, 2023

by Carla Hay

“The Devil Conspiracy”

Directed by Nathan Frankowski

Some language in Italian with no subtitles

Culture Representation: Taking place in Italy, the horror film “The Devil Conspiracy” features a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: An art historian uncovers a sinister biogenetics plot conjured up by Satanists, while the evil angel Lucifer plots his revenge on good archangel Michael.

Culture Audience: “The Devil Conspiracy” will appeal primarily to people who are interested in watching idiotic horror movies that are a mishmash of other movies’ concepts that use characters from Christian teachings.

Joe Anderson (below) and Peter Mensah in “The Devil Conspiracy” (Photo courtesy of Samuel Goldwyn Films)

“The Devil Conspiracy” is a bombastic train wreck of a horror movie with an onslaught of bad acting and stupid scenarios. It’s a weak ripoff of ideas from Rosemary’s Baby and Legion, but with the setting in Italy, instead of New York City or Los Angeles. The movie tries to juggle two different stories that are supposed to be connected. The ends result is that “The Devil Conspiracy” doesn’t succeed at telling either story and is just a jumbled mess.

Directed by Nathan Frankowski and written by Ed Alan, “The Devil Conspiracy” shows the first story, which is a battle between the evil angel Lucifer (played by Joe Anderson) and the good archangel Michael (played by Peter Mensah), with Lucifer losing the battle. Lucifer falls from the sky. Michael then puts Lucifer in chains and says that Lucifer will be set free if Lucifer joins Michael as an ally. Lucifer refuses and says he will return as Michael’s master. legions of demons join Lucifer in hell as Lucifer plots his revenge.

“The Devil Conspiracy” then ignores this Lucifer/Michael feud for most of the movie until the last third of the film. The second story is about an art historian named Laura Milton (played by Alice Orr-Ewing), an American. She is spending a lot of time at a museum that has a very special exhibition: the shroud of Jesus Christ, also known as the Shroud of Turin. This shroud has a major role in a poorly conceived biogenetics plot development that is revealed later in the movie.

Before she goes to the museum to see this shroud, Laura meets Dr. Andre Russo (played by Andrea Scarduzio) from Turin University, and she has an awkward conversation with him. Laura pleads with Dr. Russo to reconsider her thesis. He replies, “The last thing Turin University wants to hear is a young American lecturing us on what our great Italian artists believed or didn’t believe.”

Laura then says she doesn’t believe in angels or a dark side of the afterlife. Dr. Russo says they can continue this discussion at his apartment. Laura knows exactly what he means by this invitation. And she wisely declines. It’s probably one of the few smart decisions that Laura makes, because this character is the unflattering stereotype of a horror heroine who makes some very bad decisions.

At the museum, which is crowded with people eager to see the Shroud of Turin, Laura doesn’t have a ticket, but she gets a laminated pass from a priest she knows as a professional acquaintance: Father Marconi (played by Joe Doyle), who won’t be himself for much longer. Through a series of circumstances, something happens that is already revealed in “The Devil Conspiracy” trailer: Father Marconi is murdered in the museum. Archangel Michael then immediately comes down to Earth and inhabits Father Marconi’s body, which is brought back to life with the spirit of Michael inside.

“The Devil Conspiracy” then wastes a lot of time with repetitive scenes of Laura lurking around the museum after it’s closed and seeing strange things that might look scary to her, but actually look like cheap-looking horror movie tactics. A witchy-looking woman named Liz (played by Eveline Hall) shows up occasionally, with and without some cronies, to cause some murders and other mayhem. Laura is then kidnapped and put in a glass cage in a room with three other young women who are also in glass cages: hysterical Sophia (played by Wendy Rosas), tough-looking Alina (played by Natalia Germani) and sensible Brenda (played by Victoria Chilap).

The rest of “The Devil Conspiracy” then becomes a tangled mishmash of science fiction and demonic possession that is so ridiculous and poorly explained, even the characters in the movie who are supposed to believe in what’s happening never look convinced. These characters include Dr. Laurent (played by Brian Caspe) and Cardinal Vincinia (played by James Faulkner), representing the inept way that “The Devil Conspiracy” tries to present conflicts between science and religion. The movie is also plagued with tacky-looking visual effects that are more laughable than terrifying. The film editing is atrocious and just makes the entire movie look even more scatterbrained than it already is.

And some of the soundtrack music is enough to make a viewer’s eyes roll with the corniness of it all. For example, there’s a scene where archangel Michael, while inhabiting the body of the dead Father Marconi, is listening to some songs while driving a car. The songs are INXS’s 1987 classic “Devil Inside” and Real Life’s 1983’s hit “Send Me an Angel.” Yes, really.

One of the worst things about “The Devil Conspiracy” is the very incoherent showdown scene that’s supposed to be the big climax to the movie. Apparently, “The Devil Conspiracy” filmmakers haven’t learned that throwing a bunch of low-quality visual effects into darkly lit scenes does not automatically make a movie thrilling to watch. By the end of “The Devil Conspiracy,” viewers will feel that the only convincing hell that this movie was able to conjure up was the hell of having wasted time watching this junk.

Samuel Goldwyn Films released “The Devil Conspiracy” in U.S. cinemas on January 13, 2023. The movie was released on digital and VOD on March 3, 2023.