Develiker terrible... so disappointed.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Martin Bradley With only 6 full-length feature films under his belt Paolo Sorrentino has already established himself as one of the cinema's greatest stylists. Indeed, I think Sorrentino will turn out to be one of the great directors and not just in his native Italy. His first foray into English, "This Must Be The Place", was an extraordinary American road- movie and a very worthy addition to both that genre and to those visions of America, (and in that particular case, Ireland as well), as seen through the eyes of an outsider. "The Family Friend" was his third film and it, too, is astonishing. It's about a loan shark, the thoroughly despicable Geremia, (a wonderful performance from Giacomo Rizzo), who could have come straight from the pages of a Dickens novel and, though himself in middle-age, lives with his ancient, bed-ridden mother and is on the look-out for a wife or at least a woman. He is a man who takes no prisoners and is certainly not the kind of man you would like to cross. Then one day he meets Rosalba, the daughter of a couple who have borrowed money from him to pay for her wedding, and he is smitten, even though she despises him. This is a dark and very funny film; a variation on "Beauty and the Beast" where the beast really is a beast, a "Phantom of the Opera" where the phantom is as hideous on the inside as he is on the outside, told in the same gloriously broad strokes that Sorrentino has brought to all his films. Critics have compared him to Fellini, (and his most recent film, "The Great Beauty", is a "La Dolce Vita" for the 21st century), but Sorrentino is much too original a talent to be compared to anyone and "The Family Friend" is a true original. Right now I think the only director turning out movies this good, on such a consistent basis, is Paul Thomas Anderson. For starters, they both share the same sense of the absurd though when it comes to the use of music in his movies I think Sorrentino has the edge on all his competitors.

ellkew An impressive and stylish film. Rizzo as Geremia the main character is marvellous. He dominates every scene. His simian style shuffle from side to side, his carrier bag swinging gently from side to side hanging from his bad arm. It is through his eyes we see the world and so the criticism of the female flesh on display seems a bit naieve. It's a stylish film shot through with Sorrentino's flamboyant flourishes of camera movement and against the grain cutting, almost too abrupt sometimes. I enjoyed this as much as I enjoyed the Consequences of Love and I recommend both of them. There are moments of revelatory dialogue on the nature of existence which doesn't offend or get tied up in long soliliquay's and quite odd scenes offering a glimpse of darkness in this man's tarnished, cynical world where everything, even a kitsch figurine, has a price. It's an icy film and I did come away from it not really sure what I had learned about the characters or what it was trying to say. I was a little disappointed with the end but that said it's offbeat in so many ways I forgive it it's flaws.

Cliff Hanley Paulo Sorrentino, with The Consequences of Love, proved himself to be an elegant explorer of twisted obsession.This follow-up is set in what was once the Pontine Marshes, near Rome. The protagonist Geremia di Geremei (Rizzo), an ageing tailor and loanshark, employs a couple of heavies, one of whom supplies the history in seconds: while putting pressure on a couple of borrowers, he suddenly turns and slaps the wall behind him. "A mosquito! All this was swamps before Il Duce!" - then smiles broadly at the suitably startled face of the 'customer'.Geremia, who would come over as nothing but scruffy but for his affectation of wearing his jackets and coats over his shoulders like a grand impresario; but who spends the whole film with one arm in a cast, hinting at some previous shenanigans, scuttles (there's no other word for it) between his 9 to 5 ragtrade shop which is obviously more than a mere money-laundering front, and the smelly little flat which he shares with his bedridden mother, who spends all her days glued to the TV. Not your typical hood.In his sweatshop he accepts entreaties from desperate low credit citizens - much of his business is for weddings. He puts on a mock-uncle affection for the potential brides, and they try not to gag as he oozes all over them. (It later becomes apparent that he is actually carrying on the family business.) He and his customers have a tacit face-saver, in referring to him as a 'friend of the family'. When he and his 'boys' visit one late-paying couple, the jewellery and kitchen appliance they take are not quite enough, and he returns for further tribute from the wife in the form of a perverse sexual / financial / sentimental action, a deeply symbolic scene that seems to hint at a lot about his character. Some friend.Another scene where disparate elements make their own logic is where the beautiful Rosalba (Chiatti) wins a beauty contest and goes into her winning dance routine, hot and writhing but against limpid and cool synth music. Her subsequent wedding becomes the first of Geremia's shake-ups: her father, although disgusted with himself, unable to handle the payments necessary to cover the costs of the celebration, engineers an opportunity for the tailor to be alone with the bride, ostensibly to repair a broken shoulder-strap on her wedding-gown.The next big move is when Geremia, against the advice of his mother, takes on the loan of a lifetime; the lure of big business and the barely credible relationship between this latter-day Gollum with the feisty Rosalba explode the top end of his life, putting an end to his extended childhood.Practically everything that happens in this film has the apparent weight of symbolism, and doubtless some parts are, in fact, symbolic. Although its morbid purulence may leave you feeling a need to head for the wash-basin, it's fascinating throughout for its constant digging below the surface of life to examine the linkage. And perhaps as a study of the survival of the fittest. CLIFF HANLEY

Daniel Britten Paulo Sorrentino's latest film confirms him as the Antonioni de nos jours. Beautifully shot with an intrusive and fascinatingly eclectic soundtrack, it is nevertheless irritatingly self-conscious and wilfully elliptical. A marvellous, almost Dickensian fable about a miserly loan shark who gets his comeuppance, is somewhat undercut by the director's own preoccupation with style.Geremia is a tailor/loan shark who lives with his invalid mother in a squalid apartment in small town Italy. One day, he is asked by a waiter to pay for the wedding of his daughter, Rossana (played by the goddess-like Laura Chiatti). Geremia instantly falls in love, and wastes no time in exploiting the situation for his own dark purposes. However, Rossana gives him more than he bargained for and in a sub-plot he is betrayed by his only 'friend', Gino.This is very much a film about appearances, and how deceptive they can be. Geremia, whilst grotesquely greedy and physically repulsive, offers some profound insights into what makes other people tick, if not himself. Rossana turns out to be the perfect foil for him, for while he has had to fight for every opportunity he gets, life has been handed to her on a plate. Ultimately they are both motivated, if not undone, by greed and pride in equal measure.Sorrentino, who directed the stylish but more superficial The Consequences of Love, is certainly developing a distinctive style of film-making. The question is whether he can achieve a more successful marriage of the flashy modern rock sensibility with what are fundamentally old-fashioned values in story-telling. It is something which others, notably Sofia Coppola, have recently tried to do, with equally mixed results.