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Giovanni Marchini Camia

Giovanni Marchini Camia's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
Martin Eden (2019) 88% EDIT “Pietro Marcello transposes Jack London’s novel from California to Italy in a sweeping, ravishing adaptation which creates a grand metaphor for 20th century Italian society. ” – Sight & Sound May 14, 2026 Full Review The Tsugua Diaries (2021) 79% EDIT “All this meta-waggishness is very self-satisfied, to be sure. And yet, through the thick blanket of irony gradually emerges genuine feeling, and the inverted chronology builds to a celebration of community that is heartfelt and poignant.” – Sight & Sound May 14, 2026 Full Review France (2021) 68% EDIT “Bruno Dumont presents an excoriating satire of sensationalist TV news, as symbolised by Léa Seydoux’s eponymous reporter and her overdue spiritual crisis. ” – Sight & Sound May 14, 2026 Full Review Annette (2021) 72% EDIT “Nevertheless it’s remarkable that Carax should want to wrestle his demons so publicly. And it is our privilege that he keeps doing so.” – Sight & Sound May 13, 2026 Full Review Fallen Leaves (2023) 97% EDIT “As pleasurable as it is to revisit Kaurismäki’s distinctive vision of the world and the troubled humans who inhabit it – and at 81 minutes, the film is certainly short and sweet – one is left with the feeling of having seen it all before. ” – Sight & Sound May 13, 2026 Full Review A Brighter Tomorrow (2023) 56% EDIT “A Brighter Tomorrow is on the whole a breezy affair, but Moretti’s complacency – thrown into even sharper relief by the glib parallel drawn between the invasion of Budapest and the current war in Ukraine – also ensures that it remains expendable. ” – Sight & Sound May 13, 2026 Full Review Caught by the Tides (2024) 99% EDIT “It’s a powerful and moving finale, even if it is familiar. ” – Sight & Sound Dec 31, 2025 Full Review Grand Tour (2024) 91% EDIT “Miguel Gomes elegantly bridges 100 years of film history with an experimental, time-bending colonial-era story of a British civil servant trying to outrun his persistent fiancée. ” – Sight & Sound Dec 31, 2025 Full Review It's Not Me (2024) 91% EDIT “The film is a testament to the importance of crafting images that bear witness to reality.” – Sight & Sound Nov 4, 2025 Full Review The Secret Agent (2025) 98% EDIT “Such confident skill, combined with the richness of the narrative and the impressively fluid storytelling, renders the film riveting for all 158 minutes of its running time. One is tempted to call it a masterpiece.” – Sight & Sound Nov 4, 2025 Full Review I Was at Home, But (2019) 88% EDIT “In striving for the ineffable, I Was at Home, But... takes a step further along the trajectory towards a spiritual cinema that began with The Dreamed Path.” – Cinema Scope Sep 6, 2019 Full Review Once Upon a Time... In Hollywood (2019) 86% EDIT “Although there's some enjoyment to be had in watching DiCaprio dress up in silly costumes and pretend he's a second-rate actor, the meta-humor is nowhere near as funny as Tarantino thinks it is.” – Bloomberg News May 23, 2019 Full Review Rocketman (2019) 89% EDIT “Just as dispiriting as these cheesy platitudes is the fact that, beat by beat, the film follows the same trajectory as virtually every other movie ever made about a musician...” – Bloomberg News May 23, 2019 Full Review Bacurau (2019) 93% A- EDIT “An uproarious, drug-fuelled and inordinately bloody historical revenge fantasy where, for once, it's the little people of Brazil who come out on top.” – The Film Stage May 17, 2019 Full Review Climax (2018) 69% A EDIT “A compact, expertly crafted horror flick that transcends its puerility to achieve something altogether sublime.” – The Film Stage Mar 1, 2019 Full Review Synonymes (2018) 87% EDIT “It's a remarkable feat on Lapid's part that Synonyms doesn't succumb under the weight of its overt symbolism.” – Sight & Sound Feb 16, 2019 Full Review Earth (Erde) (2019) 89% EDIT “Rendered abstract by the extreme distance, the landscapes assume an organic appearance, so that the machines appear to be lacerating the Earth's skin, while the grim colour of the devastated land and polluted sky evoke nothing less than a cancer.” – Sight & Sound Feb 10, 2019 Full Review The Favourite (2018) 93% EDIT “No amount of ostentation proves sufficient to spruce up the insipid narrative, which strains to fulfil its two-hour running time as if it were a requirement of seriousness.” – Sight & Sound Sep 9, 2018 Full Review Non-Fiction (2018) 86% 5 EDIT “Non-Fiction is a portrait of the present at once attuned to the zeitgeist and dated, a contradiction that often inhibits the film's narrative momentum and ends up restricting the scope and impact of its critique.” – Sight & Sound Sep 8, 2018 Full Review Our Time (2018) 62% EDIT “A soul-searching work of scorching honesty that functions both as an anatomy of love and marriage, and as an evisceration of masculinity.” – Sight & Sound Sep 7, 2018 Full Review In My Room (2018) 80% EDIT “Although its critique of modern society couldn't be more damning, In My Room is peppered with delightful comic touches.” – Sight & Sound May 24, 2018 Full Review Under the Silver Lake (2018) 58% B+ EDIT “It's a fantasy, yes, but it's not toxic like those found in many of the revered texts that inspired it. Perhaps Mitchell's real sin was having the temerity of amending the canon.” – The Film Stage May 17, 2018 Full Review Ash Is Purest White (2018) 99% EDIT “Jia has dedicated his career to scrutinising the complexities of the culture to which he and his films belong and it seems likely that in revisiting chapters from his filmography, he wished to address the masculine facets of his own work.” – Sight & Sound May 13, 2018 Full Review Dead Souls (2018) 100% EDIT “The extreme length of Wang's film serves to demonstrate the innocence of the victims and the culpability of the system, as the accounts corroborate one another through sheer repetition, accumulating into a vehement and incontrovertible j'accuse.” – Sight & Sound May 12, 2018 Full Review Everybody Knows (2018) 78% D EDIT “Overwriting has been the constant weakness in Farhadi's filmmaking, but here the writer-director truly outdoes himself.” – The Film Stage May 11, 2018 Full Review
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