Cubussoli Very very predictable, including the post credit scene !!!

Limerculer A waste of 90 minutes of my life

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Matho The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Rich Wright Those Europeans sure know how to make irresistible movies out of the most unlikely topics, no? This one concerns the choice made by the widower of a young woman who's just died to sit outside his daughter's school every day to wait for her, rather than go to work. What starts off as an odd way to come to terms with his grief, quickly transforms into an emotional journey for him, and his family.He starts appreciating the simple things in life more, and makes a lot of new friends that he otherwise may not have met. It also turns him into a bit of a minor celebrity... as folks flock to see 'The Man Who Can't Be Moved'. Who'd have known that Script song may be based on a real character?!It's brilliantly acted, with truly heartfelt moments studded throughout. You become wrapped up in the lead's quest to find some kind of personal closure, and the lives of the other participants are almost equally as fascinating. Could us Brits build such a towering edifice with such small bricks? Alas, I don't think so. But... what's to stop us trying? 8/10

Roger Burke Chaos is part of the human condition, as is death. Combine those three aspects in a narrative that explores the grieving process of a well-to-do business man, and you have the basic plot for this film.Each of us grieves in our own way but generally in a manner that's well-known and understood. The man of this story, Pietro Palladini (Nanni Moretti) is different, however, when his wife dies unexpectedly (in the first ten minutes): his attitude is one of apparent indifference. Moreover, his behavior takes another turn when he insists on remaining outside his daughter's school every day, all day, instead of returning to his highly paid, high-powered position as a senior executive with a company that's infighting a merger with an American outfit. When called by his office, he insists he can do his work in his car, or while sitting on a park bench opposite the school...That sort of aberrant attitude raises questions and helped this viewer to stay with the story to peel back the layers and find out what's eating Pietro.As the widower, Nanni Moretti gives a quietly brooding and pensive performance that has an almost di Nero quality. It's contrasted nicely with Carlo (Alessandro Gassman), Pietro's celebrity brother who is as extroverted as Pietro is the opposite – the veritable chalk and cheese. Between the two is Pietro's daughter (Blu Yoshimi) who also displays a marked lack of affect after the death of her mother. On the periphery to those three are the women who intrude upon Pietro's solitary quotidian watch over his daughter's school: Marta (Valeria Gollino), his nervously unstable sister-in-law; Eleonora (Isabella Ferrari), the woman whom he rescued from drowning in the film's opening sequence; and the stunningly ravishing Jolanda (Kasia Smutniak), the young woman who insists upon walking her dog – and herself – closer to where Pietro sits, with each passing day. As Pietro sits and watches her, his gaze tells us he's wandering into fantasy, without a doubt...And, from time to time, some of Pietro's colleagues from the office turn up to discuss office politics and the impending merger – capped, I might add, with a cameo from Roman Polanski as Steiner, the business mogul who wants to use Pietro to help with the merger.Except for one torrid, animalistic sex scene – simply a cry for connection between two lonely people – this is a gentle story that's beautifully photographed around Rome and Lazio, Italy. The acting, especially from Moretti and Yoshimi, is without fault, I think; and Valeria Gollino always gives pleasurable viewing. The soundtrack is adequate; the pacing is in sync with a story that is very much about self-analysis and introspection i.e. some might think too slow – but the editing and direction keep the narrative moving well.So, enjoy the views, the music, the shaded park, and the transient visitors as Pietro comes to terms with his loss. Highly recommended.

gradyharp Two middle-aged brothers - Pietro (Nanni Moretti) and Carlo (Alessandro Gassman) - play ball on the beach when suddenly two women yell for help while in the ocean. The brothers risk their lives to save the two women, only to find that the women don't even thank them. When the Paladini brothers drive back to Pietro's home, they discover that in their absence Pietro's wife has fallen and died. Pietro's 10-year-old daughter Claudia (Blu Yoshimi) is distraught and asks her father why he was not at home to save his wife. After a quiet funeral Pietro enters an existence of 'quiet chaos', neglecting his duties as a successful executive, choosing instead to sit on the bench across from Claudia's school, waiting each day in numbed silence for his daughter's completion of classes in order to drive her home. His only goal, despite various interruptions from passers-by and family members in incidents both humorous and distractingly serious, is to be there for Claudia, visible through her school window, to reassure her of his constant presence. How Pietro gradually figures out his grief, the world, and his place in it, discovering a new relationship with Claudia, forms the story line of this tender film. Director Antonello Grimaldi, working with a screenplay adaptation of Sandro Veronesi's book by Veronesi and Nanni Moretti, draws extraordinary performances from his cast of premiere Italian actors. In an classroom scene Claudia's teacher is explaining the word 'palindrome' (a sequence of units that can be read the same way in either direction) and shares with her pupils how some things are reversible while other things are irreversible. Grimaldi and his writers and actors demonstrate this term as it applies to human events in this thoughtful story. The film, in Italian with subtitles, appeals both to the intellect and to the emotions. It is a little treasure. Grady Harp

hand-eti Nanni Moretti is not playing his neurotic self this time but he is quite convincing as a man who can't deal with his emotions at all. The good thing about the movie is that all little story lines keep on spinning around him and seem to go nowhere in the end.Just a few things put me off. I don't know if it was necessary to make the person a top manager. He doesn't seem the type to hold that sort of position. And the symbolism of the reversibility of palindromes is a bit cheesy and over the top.But the thing that really put me down is that one sex scene. There is nothing wrong with it in itself but it does not fit in this movie at all. The whole atmosphere changes, it is as if the movie stops, the sex scene starts, and when it's over the movie starts again. Not convincing at all.