Stars: Matilda Anna Ingrid Lutz, Francesco Russo, Peppino Mazzotta, Will Merrick, Yuliia Sobol, Alida Baldari Calabria, Cristina Donadio, Francesca Cavallin, Justin Korovkin | Written by Roberto De Feo, Paolo Strippoli, Lucio Besana, Milo Tissone, David Bellini | Directed by Roberto De Feo, Paolo Strippoli
Travelling through rural Italy, a group of mismatched strangers crash their camper van in the middle of nowhere. Waking up in the middle of the woods, the group look to an ominous old shack for assistance. Described by one character as “Sam Raimi’s house,” the cabin itself should have been warning enough; the gang are soon beset by hooded assailants wielding massive hammers. Frankly, Elisa (Matilda Anna Ingrid Lutz) and her fellow travellers should have known better. What, did they not get Wrong Turn in Italy?
‘Wrong Turn in Italy’ is essentially the plot of Roberto De Feo and Paolo Strippoli’s A Classic Horror Story. This...
Travelling through rural Italy, a group of mismatched strangers crash their camper van in the middle of nowhere. Waking up in the middle of the woods, the group look to an ominous old shack for assistance. Described by one character as “Sam Raimi’s house,” the cabin itself should have been warning enough; the gang are soon beset by hooded assailants wielding massive hammers. Frankly, Elisa (Matilda Anna Ingrid Lutz) and her fellow travellers should have known better. What, did they not get Wrong Turn in Italy?
‘Wrong Turn in Italy’ is essentially the plot of Roberto De Feo and Paolo Strippoli’s A Classic Horror Story. This...
- 7/19/2021
- by Joel Harley
- Nerdly
Amid the litany of horrors the biting little film Bad Tales presents, there might be a pinnacle: reading out your middle-school report card to a dining table of your parents’ closest friends. Although young Dennis (Tommaso Di Cola) and Alessia Placido (Giulietta Rebeggiani) have a stack of straight A+’s to unveil, they go through their paces with a haunted, almost inhuman stillness. The camera holds the shot in near-real time, tracking each excruciating second as the kids slowly leave the table, and return, gifted-level grades in trembling hands. But are the film’s writer-directors, twin brothers Fabio and Damiano D’Innocenzo, after our approval in an equally desperate fashion?
Bad Tales is contemporary Italian realism left to corrode and mangle out in the broiling Roman sun. The color palette is tweaked sickly yellow, and the camerawork stays at an austere distance, hovering but never pouncing like the continual buzz of...
Bad Tales is contemporary Italian realism left to corrode and mangle out in the broiling Roman sun. The color palette is tweaked sickly yellow, and the camerawork stays at an austere distance, hovering but never pouncing like the continual buzz of...
- 6/3/2021
- by David Katz
- The Film Stage
The sense of foreboding is unpalatable in the D’Innocenzos brothers Bad Tales. The wait for why there is such a festering malaise in this unnamed suburb of Rome that the film is set in is intoxicating but eventually becomes quite frustrating, as the film draws near to its 98 minute close.
We are witness to unsavoury events throughout that flag why a lot of the child characters are non-vocal around the adults, but we are also left starved of further depth as to why things continue to happen the way they do. In overplaying the subtle, unspoken card, the D’Innocenzos miss delivering some crucial conclusions and leave other sub plots dangling without consequence. On the other hand, it could be argued that what is left to the imagination is more potent than anything depicted on screen, which is why reviewing Bad Tales feels like a troubling conundrum too – it is subjective in the extreme.
We are witness to unsavoury events throughout that flag why a lot of the child characters are non-vocal around the adults, but we are also left starved of further depth as to why things continue to happen the way they do. In overplaying the subtle, unspoken card, the D’Innocenzos miss delivering some crucial conclusions and leave other sub plots dangling without consequence. On the other hand, it could be argued that what is left to the imagination is more potent than anything depicted on screen, which is why reviewing Bad Tales feels like a troubling conundrum too – it is subjective in the extreme.
- 10/15/2020
- by Lisa Giles-Keddie
- HeyUGuys.co.uk
At a surprise party for his daughter, a randy Italian homeowner studies a neighbor’s wife through the sliding glass door and describes all the ways he’d like to violate her. In the bathroom, his 14-year-old son sits with his best friend, studying the hardcore porn sites listed in the browsing history of Dad’s cellphone. A few days earlier and a couple doors down, a pregnant teen senses the prepubescent kid’s sexual curiosity and taunts him with a series of increasingly provocative acts. For example, when he offers her a cookie, she exposes a breast and gives a whole new meaning to “Got milk?”
Innocence is not a concept to be found in the D’Innocenzo Brothers’ cinematic oeuvre, which consists of two films so far: “Boys Cry” and “Bad Tales,” both of which forgo the notion of childhood as a state of uncorrupted naivete. Rather, in the Italian siblings’ deeply cynically,...
Innocence is not a concept to be found in the D’Innocenzo Brothers’ cinematic oeuvre, which consists of two films so far: “Boys Cry” and “Bad Tales,” both of which forgo the notion of childhood as a state of uncorrupted naivete. Rather, in the Italian siblings’ deeply cynically,...
- 2/25/2020
- by Peter Debruge
- Variety Film + TV
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