The latest films I’ve watched have surprisingly all come from first-time directors and/or writers. James D'Arcy, familiar to many as Edwin Jarvis in the Marvel Cinematic Universe, steps away from acting to direct and write his debut feature film, sharing screen time with Liam Neeson and Neeson’s real-life son, Micheál Richardson, who also makes his acting debut. The screenplay resonated deeply with both actors—Neeson's wife also passed away due to an accident when Micheál was young, mirroring the movie's story—and this connection is a significant strength of the film. The chemistry between Neeson and Micheál is striking, authentic, and very engaging. Their dialogue feels incredibly genuine and heartfelt, particularly during a two-minute uncut scene in the third act that contains one of the most emotionally charged conversations of the year. While Micheál's performance still shows some rawness and needs refinement, it’s a promising start. Neeson, on the other hand, was quite surprising; I had become so accustomed to his action roles that I almost forgot how talented an actor he is. He delivers a truly excellent performance—an Oscar hasn’t come his way yet, but there's still time. The supporting cast is adequate, though the focus remains firmly on the father-son relationship. Robert and Jack are relatable characters; many viewers will recognize their experiences with grief and sadness. Micheál himself reportedly dealt with his own mother’s death in a similar fashion to Jack’s character, adding to the sense of authenticity. Unfortunately, this is about all I can praise regarding the entire film. The Italian scenery is beautiful, and the cultural setting feels well-developed; technically, it's as visually appealing as Tuscany allows (which is considerable). However, D'Arcy's screenplay relies heavily on tired tropes, familiar formulas, and predictable plot points that countless other movies in the genre have already explored. It doesn’t offer anything fresh or original. Within ten minutes of watching, you can anticipate what will happen to each character and how the story will unfold without any surprises. The brief running time helps somewhat, but it's still a bit tedious to watch an entire movie knowing exactly how it will play out. An unnecessary romantic subplot is also introduced, which I consider to be the film’s weakest element. It feels out of place and takes away from the core storyline. Characters repeatedly perform tasks like renovating the house, arguing about unimportant matters, encountering irritating potential buyers who don't purchase the property, and then repeating the cycle until the end credits. Even concerning the father-son dynamic, their conversations are often superficial and generic (with the exception of that remarkable final scene). There’s a moment where Jack inexplicably becomes drunk and “attacks” his father—I’ve seen this scenario many times before. Ultimately, *Made in Italy* presents an emotionally resonant story about a father and son that will likely connect with audiences. However, James D'Arcy’s directorial debut and screenplay are unlikely to be remembered for long. The narrative is filled with commonplace clichés and predictable plot points, lacking any sense of uniqueness or originality. It’s foreseeable from the beginning without deviation, which makes even the short runtime feel a bit extended. Still, Liam Neeson and Micheál Richardson share an undeniable bond that only a real father-son relationship can provide. The actors' shared experiences lend their performances considerable sincerity. The beauty of Tuscany and Italian culture also enhance the film’s visual appeal. It’s a pleasant movie to watch with family on a Sunday afternoon—nothing more. Rating: C

Source on TMDB