Totally unawares, Saverio, a teacher and Mario, a janitor of the same school in which they both work, travel back in time and find themselves in central Italy at the end of the 15th century. They carry with them an unresolved squabble concerning Saverio’s sister, creating a lot of tension between the two, which will increase in the plot. From this moment on they will have to come to grips with the grotesque situation they find themselves in, trying to "hitch a lift" back to the future in a most outlandish way, using and misusing their foresight of the events taking place round that time, and generally making fools of themselves in the eyes of "normal" renaissance folks. Their meeting with Leonardo da Vinci is hysterical, when they become more and more convinced that the genius is in reality a moron. Another character they meet is Savonarola the heretic, who enjoins them to repent, before he is taken to the stake, eliciting some breezy comment from them. If it weren’t for a weird kind of homesickness, they would quite enjoy living in this period, full of daring fashions and tantalising damsels.
The couple shows great chemistry and is funny in every respect. The psychology of their characters is complex and credible - for once comical roles with a depth. Basically, Saverio is an embittered petit-bourgeois forever attracted and rejected by women, envious of Mario, an easy-going proletarian every woman falls in love with. Saverio is scheming, mean and vindictive as much as Mario is naive, generous and forgiving. What a match of talents: Roberto Benigni and Massimo Troisi at the peak of combined creativity. Too bad they will never come back together for another joint venture. Or maybe it is better this way: masterpieces of this level cannot be improved on, at best they can be imitated. For this reason Non ci resta che piangere will shine like a gem in the crown of the best Italian movies of all times. Sadly not many people seem to have seen it, not even in Italy, where the viewers do not need subtitles to enjoy the hilarious juggling of the two actors with the language, but their body language can be universally appreciated.
If you miss it you will have to repent!
睡过去两回，现在想看个不太催眠的恐怖片怎么那么难。
一开始的宣传被誉为律政强人电影版，套路果然还是满满的TVB式看了开头就猜到结尾系列，无非也就是官商勾结惹出来的乱摊子嫁祸给平民百姓，再由正义的大律师出来维护公义。说白了其实是一部电视电影，不过方中信、鲍起静、廖启智这些影帝影后的老戏骨表演还是值得敬佩，能够欣赏的。曾江也是偶尔出山过过戏瘾。唯独陈家乐这个角色，没看出在此作里边有什么突出性的作用，作为现在TVB和电影两头跑的英皇人，还是先老老实实磨练好自己的演技吧，和方中信的两场对手戏，不管是气势还是对白都处明显下风…… PS：片尾最后十分钟的说教可以选择性略过 2021.12.03
氛围和鬼的妆容都在致敬黄金时期港式鬼片的风格，精神分裂鬼算是一个新鲜点子，可惜后面全员醒悟自己早已变鬼的反转，也是港片曾经玩烂的梗
怎么做到一惊一乍故弄玄虚的同时还特别无聊的，简直有辱韩国恐怖片的门楣。
前面30分钟很难熬，之后还不错，看过前面两部的会有很多共鸣
5分，基本就是tvb法庭剧其中一个章节的剧情，反转无惊喜，过程略无趣，全程都在看方中信释放魅力。
噩梦般的三部曲终于结束了，我只想问一句：三池崇史，廉颇老矣尚能饭否？
本子应该是个好本子，程序正义和结果正义哪个重要？但怎么最后拍出来是这个样呢...
挺奇怪的片子，熟悉它的套路之后并不恐怖。刷一遍能看明白影片里直白的结论，但是主线在一惊一乍的叙事中被打乱了。
冲着廖启智的遗作，还是勉强给个三星吧。
比昆岩池还是要好一些，但把韩国神婆，日本地缚灵，藏传佛教的金刚杵糅合到一起，也只是一个脆弱的缝合怪而已。
被抖音骗去看的，全片最精彩的就是廖启智和曾江对峙。全片显得香港警方很废啊，证据不找，关键证人阿cat不调查，直接起诉疑犯。警察转移证人只派一个警察，还是跟反派勾结的。 又要表现郭爸爸很爱女儿，法庭上又不给郭爸爸镜头。逻辑bug太多。有钱就是好，能让张国辉法庭反水指证凶手了。钱权勾结，反目成仇，要儿子还是要组织，最终还是郭爸有钱斗过了有权的姓曾的。结局也过于理想化了，郭世荣鱼死网破去自首了。
三星因为廖启智&方中信#这类型黑金、黑警的电影，好像是中国台湾、韩国会拍的比较好！
一如既往的中二恶搞。虽然很沙雕但是有认真。
有点乱，但是不失为一部有寂静岭风格的电影。6.9/10.
三星因为廖启智&方中信#这类型黑金、黑警的电影，好像是中国台湾、韩国会拍的比较好！
前戏（包括前情提要）太长，而主线核心重点也在整部电影中飘忽不定，反而最后的游轮大决战羸弱且无聊。
还不如TVB的电视剧，结尾反转勉强算是亮点吧
真的没得耐心看完这种混乱的片子，剧本设定很好，但导演眼高手低了，这种多线条叙述交织的片子对节奏和剪辑要求太高了，做不到就觉得点没到位。而且一直黑漆漆的，看得眼睛好累啊，棒子演技一如既往的浮夸，受不了～给个鼓励的三星吧～看不下去了，关电视出门吃饭～
不想看 感觉很用心，但是被配音给毁了，粤语听不懂，字幕不想看。
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