At Home All Good

At home everyone is fine

It looks like a film by Muccino. It is a film by Muccino: "At home all good" consists, in practice, in a sort of authentic facsimile of the microcosm of the Roman director, on which the years of the industrious exile in America have left the only trace of considerable refinement aesthetic. For better or for worse, obviously: if the prototypes of this choral comedy would excite the citationism of every cinephile - we go from "The family" to "We hope it's a girl", from "Parenti serpenti" to "Sunday lunch" with a short turn on "Ferie d'agosto" -, the gathering of a wealthy tribe of restaurateurs in an enchanting villa set in the panorama of Ischia responds with unprecedented punctuality to everyone, but all the "bips" of the videogame dear to Muccino . Forced by the bad weather to stay beyond the arranged day of celebrations, the extended family,

So, with the hail of betrayals, confessions, hypocrisies, jealousies that see Tognazzi soar in the part of the most unlucky but most vital of all, Favino in that of the balancing act between the ex and his new wife, Marescotti-Sandrelli in the couple of compromising parents and Ghini-Gerini in that of the spouses always in love but now devastated by the impending alzheimer of him. When the music of Piovani appears too mushy to hold up the ranting ambushes and colluttations, the director in his studied ingenuity places the black sheep on the floor and makes him sing "A caress in a fist", "Bella soulless", "Ten girls", "Margherita" and so on and while the human-too-human protagonists are around him forgetting the friendly fire of grudges every few minutes.