Sorry, this movie sucks

It's entirely possible that sending the audience out feeling lousy was intentional

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Don't Move is an Italian film that stars Penélope Cruz, Claudia Gerini, Elena Perino and Sergio Castellitto.It was the second feature from actor/director Sergio Castellito and he co-wrote the script with his wife, actress/author Margaret Mazzantini from her best-selling novel. Castellito stars as Timoteo, a successful surgeon and permissive father whose teenage daughter, Angela, has just had a life-threatening motorbike accident. Sitting in the hospital, wondering if his daughter will survive, Timoteo thinks back to a fateful day 15 years earlier when his car broke down on a remote country road in the rain and a bedraggled young woman, Italia, invited him into her ramshackle home only to have him force himself upon her. Timoteo then returned home to his lovely wife, Elsa. But unable to get Italia out of his mind, Timoteo returned again and again to her sordid shack. They began to develop genuine feelings for each other. Elsa is reluctant to have children, despite Timoteo's wishes, so when he learns that Italia is pregnant, he has a critical decision to make about how he wants to live his life.The gritty performances from Cruz and Castellitto outweigh the film's flaws.It was a full-bodied love story with a wrenching impact that makes most of today's screen romances seem undernourished by comparison.Overall,it still a good view for people who love good romantic movies.

"Non ti muovere", is an excellent movie that made me shiver! Its a mixture of extremely talented actors, with outstanding snapshots and very touchy scenes... what mostly caught my eyes is certainly the extreme real depiction of reality; how things flow in such a real & drastic way as if in real life not in movie where usually reality is altered! Penelope Cruz is very powerful in showing her emotions, so much that the viewer is directly involved. Its such a true story about love and life's choices and how one can spend his whole lifetime seeking to give a certain meaning in his life, though sometimes in vain! its a must-see movie for all the deep and consistent movies lovers!

I watch mainly French and Italian films from the 40s-80s, and I think it is bizarre to compare this film with Fellini or other art films. I found it more on the level of L'Ultimo Bacio -- actually a hardcore version of that film, without the fun and cuteness, and with weaker female characters.Non Ti Muovere centers around a man who rapes a woman (because he drank a bit too much?) and then, it seems, because of her predisposition to masochism after having been raped by her father as a young teenager, he is able to begin a sexual relationship with her. Meanwhile, he is married to a woman who is not only beautiful, but quite caring towards him.I've read some of the reviews and didn't see mention of the quite telling scene in which Timo kicks his mother-in-law's little dog. In a truly sadistic manner, he beckons the dog, offering it food, and then gives it a powerful, violent kick. In another scene he urinates on his wife's balcony plants. Both are actions of a disturbed person whose moral and emotional growth is severely stunted. His wife and her parents are stunned by Timo kicking the dog, yet a little later they are all overjoyed that he is going to become a father.Violence against animals has been linked in studies to child abuse. It would be fitting if this character had been abusing his daughter. Although it seems the premise of the film and book is that this man underwent some sort of change because he began to feel emotion for the woman he had raped and then he watched her die, the scene of his daughter crying after a judo match seems to show that he hadn't changed that much in fifteen years.He forced his daughter to take judo, even though she hated it and wasn't suited for it. She wanted synchronized swimming, but he said she was clumsy and awkward; he was putting her down, and maybe also putting her in danger. Instead of the motorbike accident it might have made more sense to have the daughter almost die from a judo accident. In the match, she stares at her parents pleadingly instead of concentrating on her opponent. It was only after she cried so hysterically that it seemed she might have a nervous breakdown that he finally relented.I believe it is a fault of this movie that this man is glorified. He "falls in love" with this woman that he has brutally raped, but what kind of love is that? It's rather that he becomes addicted to the sex with her and to her willingness to let him dominate her. This is romanticized, as in a cheap romance novel.The violence and dominance/submission in the relationship continues to the end -- there is a scene towards the end in which Timo is holding Italia's mouth shut on the escalator of the metro. If I had witnessed that in person, I would definitely have alerted the police.The author of the book, who is married to the actor/director is probably the source of most of my criticism. A special feature with her comments did nothing to shed light on the story, just all praise for her husband's film, mainly in a lot of poetic language to do with the film's imagery. Any desire to read the book disappeared after that, although I wonder if perhaps some of the content is autobiographical stuff she doesn't quite understand and is trying to work out.To sum up, this was an unrealistic, overly dramatic soap opera. It makes some attempts at character development, but goes seriously astray, becoming quite ludicrous, especially when Timo tries to save Italia's life by barging into a hospital and taking over the staff as though he is some sort of super-doctor. Of course, this happens while his wife is still in another hospital after giving birth.I didn't find any of the qualities of good Italian cinema in this film; the symbolism is heavy and awkward and the pretty cinematography is wasted. I thought the red shoe at the end was especially silly, and I couldn't help laughing ... although maybe that was just the relief that the film was over.

Perhaps the most disappointing aspect of film-making is its seductive capacity to fool its critics and audiences alike. Film's poetic capacity, its ability to capture contemporary culture and re-present it to us as fragments of desire, creates much confusion. Surely the critics and audiences understand a filmmaker's desire to show the human condition in all of its depravity. Surely the critics and audiences understand a filmmaker's hope to unveil the irony of our time. In this instance, that true love can never commence with a violent rape. Moreover, that we can no more think of Penelope Cruz as an ugly and destitute woman, any more than we could imagine Rosie O'Donnell as seductress. It is clear that the filmmaker knew full well that to cast Cruz was to place the sensuous and beautiful Hispanic Penelope in the paradoxical role of wretched woman where rape and infidelity, as the basis of male fantasy, might not offend one's sensibilities before the realization of its absurdity take hold. Ah the art of film-making – the capacity to show the absurd. Certainly Chaplin understood it, despite the disapproval of The Great Dictator. The cinematography in Non ti Muovere (Don't Move) is wonderful, the story is richly developed, the characters are well played and the combination is seductively appealing. Is this a love story? No, this is a reminder of all that is revolting about our contemporary society – that the poor continue to suffer abuse, the rich get away with murder, and women will be portrayed just exactly as men desire: weak and submissive or cold and calculating. Thank you Sergio Castellitto for undergoing this film based on a novel by Margaret Mazzantini. Many well-educated film viewers understand the irony and pathos often portrayed in these kinds of films – and for that I am grateful to film arts. But where are the educators who have failed to engage students in discourse? Shame on our system of education for blithely failing to teach young minds to critique the arts! Bravo to film artists who continue to critique society.