Listeners are treated to a comedic yet exhausting experience as Chris and Jessica unpack the film's concept. While the initial setup is amusing, the relentless dissection of every action and word quickly becomes overwhelming. The hosts discuss the chemistry between the leads, highlighting Lara's warm energy and Pierro's reserved nature, but lament the film's slow pacing, noting it takes a full hour for a kiss to occur—leaving viewers yearning for more.
As they delve deeper, Chris and Jessica critique the script's shortcomings, pointing out that the characters lack the depth necessary to keep audiences engaged throughout the 97-minute runtime. While the film attempts to explore themes of insecurity and decision-making in relationships, it ultimately feels bogged down by its own gimmick. With a score of 5.5 out of 10, this episode invites listeners to reflect on the potential of storytelling techniques that don’t quite hit the mark. Join Chris and Jessica as they dissect *Somebody to Love*, a film that, despite its moments, leaves much to be desired.
https://www.bitesz.com/podcast/movies-first
Become a supporter of this podcast: https://www.spreaker.com/podcast/movies-first.
To access the Movies First reviews archive visit our website at www.bitesz.com/podcast/movies-first
To access the Movies First reviews archive visit our website at www.bitesz.com/podcast/movies-first
This episode includes AI-generated content.
00:00:00 --> 00:00:02 Chris: Okay, so here's a what if every single
00:00:02 --> 00:00:03 decision you made on a date wasn't just
00:00:03 --> 00:00:06 yours, but also influenced by a chorus of
00:00:06 --> 00:00:08 voices in your head? That's the premise of
00:00:08 --> 00:00:10 Somebody to Love. A romantic comedy that
00:00:10 --> 00:00:12 takes the idea of overthinking to a whole new
00:00:12 --> 00:00:13 level.
00:00:13 --> 00:00:15 Jessica: Oh, uh, that's definitely relatable. We all
00:00:15 --> 00:00:17 have those inner voices, right?
00:00:18 --> 00:00:21 But turning that into a movie, that's a bold
00:00:21 --> 00:00:23 move. How does it actually play out?
00:00:24 --> 00:00:27 Chris: Well, it's a mixed bag. The story centers
00:00:27 --> 00:00:30 on Pierro, a 40 year old high school teacher
00:00:30 --> 00:00:32 with a young daughter and a divorce under his
00:00:32 --> 00:00:35 belt. And Lara, a 35 year old furniture
00:00:35 --> 00:00:37 restorer who's just untangled herself from a
00:00:37 --> 00:00:39 messy relationship with a married man. It's
00:00:39 --> 00:00:42 their first date and she's invited him over
00:00:42 --> 00:00:44 for dinner. He shows up with wine and
00:00:44 --> 00:00:47 condoms. So, you know, the stakes are already
00:00:47 --> 00:00:47 high.
00:00:47 --> 00:00:50 Jessica: That's quite the setup. And then you add in
00:00:50 --> 00:00:53 the Greek chorus, his four male friends and
00:00:53 --> 00:00:55 her four female friends, all in their heads,
00:00:55 --> 00:00:58 constantly chiming in. I can see how that
00:00:58 --> 00:01:01 could be funny, but also overwhelming. Does
00:01:01 --> 00:01:01 it work?
00:01:02 --> 00:01:05 Chris: At first it's kind of amusing. You get this
00:01:05 --> 00:01:07 peek into their insecurities, their doubts
00:01:07 --> 00:01:10 and their hopes, all voiced by their friends.
00:01:10 --> 00:01:12 It's like watching their inner monologues
00:01:12 --> 00:01:15 come to life. But the problem is, it doesn't
00:01:15 --> 00:01:17 stop. Every single action, every word
00:01:17 --> 00:01:20 spoken is dissected to death by these
00:01:20 --> 00:01:22 voices. It's like being stuck in a room with
00:01:22 --> 00:01:25 eight people who can't agree on anything and
00:01:25 --> 00:01:25 you can't leave.
00:01:26 --> 00:01:27 Jessica: That does sound exhausting.
00:01:28 --> 00:01:30 So while all this back and forth is
00:01:30 --> 00:01:32 happening, are we at least seeing any real
00:01:32 --> 00:01:35 connection between Lara and Pierrot? Do they
00:01:35 --> 00:01:37 have moments where you're rooting for them?
00:01:37 --> 00:01:40 Chris: There are definitely moments where you catch
00:01:40 --> 00:01:42 a glimpse of something real between them.
00:01:42 --> 00:01:45 Lara, played by Pilar Fogliotti, has
00:01:45 --> 00:01:48 this playful, warm energy that makes her easy
00:01:48 --> 00:01:51 to root for. Piero, played by Eduardo
00:01:51 --> 00:01:54 Leo, is a bit more reserved, but he has his
00:01:54 --> 00:01:57 moments too. The problem is the film
00:01:57 --> 00:01:59 takes forever to let those moments breathe.
00:02:00 --> 00:02:03 Spoiler alert. It takes a full hour for them
00:02:03 --> 00:02:06 to even kiss. An hour.
00:02:07 --> 00:02:09 By that point, you're just begging for
00:02:09 --> 00:02:11 something, anything, to happen.
00:02:12 --> 00:02:14 Jessica: An hour? That's a serious slow burn.
00:02:15 --> 00:02:17 So what's the deal with these two, uh, as
00:02:17 --> 00:02:19 characters? Are they compelling enough to
00:02:19 --> 00:02:21 carry the film, or does the script let them
00:02:21 --> 00:02:22 down?
00:02:23 --> 00:02:25 Chris: Honestly, the script is the real issue here.
00:02:26 --> 00:02:28 The concept had potential, but it doesn't
00:02:28 --> 00:02:31 have enough substance to sustain a 97 minute
00:02:31 --> 00:02:34 runtime. The characters are fine. Lara
00:02:34 --> 00:02:36 is definitely the more engaging of the two,
00:02:36 --> 00:02:38 but they're not given enough depth or
00:02:38 --> 00:02:40 development to make you truly invested. And
00:02:40 --> 00:02:43 the lack of surprises doesn't help. Aside
00:02:43 --> 00:02:45 from one curveball, everything feels pretty
00:02:45 --> 00:02:46 predictable.
00:02:46 --> 00:02:49 Jessica: That's disappointing. I mean, uh, romantic
00:02:49 --> 00:02:51 comedies don't always need to reinvent the
00:02:51 --> 00:02:54 wheel, but they do need to keep you engaged.
00:02:54 --> 00:02:56 If you're just sitting there waiting for them
00:02:56 --> 00:02:58 to kiss or wondering if he's going to stay
00:02:58 --> 00:03:00 over, that's not exactly riveting
00:03:00 --> 00:03:00 storytelling.
00:03:01 --> 00:03:04 Chris: Exactly. And to be fair, there are people who
00:03:04 --> 00:03:06 might appreciate the film's European
00:03:06 --> 00:03:09 sensibilities. The slower pacing, the focus
00:03:09 --> 00:03:11 on character, introspection. But for me, it
00:03:11 --> 00:03:14 just didn't land. Honestly, it felt like this
00:03:14 --> 00:03:16 concept would have worked better as a short
00:03:16 --> 00:03:19 film. 97 minutes was just too much.
00:03:20 --> 00:03:23 Jessica: That's a shame. It sounds like the film had
00:03:23 --> 00:03:24 the potential to explore some really
00:03:24 --> 00:03:27 interesting themes, like how our insecurities
00:03:27 --> 00:03:29 and inner conflicts shape our decisions,
00:03:30 --> 00:03:33 especially in relationships. But it
00:03:33 --> 00:03:34 seems like it got bogged down by its own
00:03:34 --> 00:03:35 gimmick.
00:03:36 --> 00:03:38 Chris: Exactly. And don't get me wrong, I didn't
00:03:38 --> 00:03:41 hate it. There were moments that worked, and
00:03:41 --> 00:03:43 I did warm to Fogliotti's performance,
00:03:44 --> 00:03:46 But overall, it felt lackluster.
00:03:46 --> 00:03:49 I ended up giving it a five and a half out of
00:03:49 --> 00:03:51 ten. It's not terrible, but it's not
00:03:51 --> 00:03:53 something I'd rush to recommend either.
00:03:53 --> 00:03:54 Jessica: Fair enough.
00:03:55 --> 00:03:57 So would you say the Greek chorus idea was
00:03:57 --> 00:03:59 the film's biggest downfall, or was it more
00:03:59 --> 00:04:01 about the lack of a compelling narrative?
00:04:03 --> 00:04:05 Chris: A bit of both. Honestly. The Greek chorus was
00:04:05 --> 00:04:07 a clever idea in theory, but it wasn't
00:04:07 --> 00:04:09 executed in a way that kept it fresh or
00:04:09 --> 00:04:11 engaging. And without a strong narrative to
00:04:11 --> 00:04:13 anchor the film, it just felt like it was
00:04:13 --> 00:04:14 spinning its wheels.
00:04:15 --> 00:04:18 Jessica: Got it. So, for anyone thinking
00:04:18 --> 00:04:20 about watching Somebody to Love, what's your
00:04:20 --> 00:04:23 advice? Go in with low expectations
00:04:24 --> 00:04:26 or maybe just skip it altogether?
00:04:26 --> 00:04:29 Chris: I'd say if you're a fan of European romantic
00:04:29 --> 00:04:31 comedies and you don't mind a slower pace, it
00:04:31 --> 00:04:33 might be worth a watch. But if you're looking
00:04:33 --> 00:04:36 for something with more energy or emotional
00:04:36 --> 00:04:38 payoff, you might want to look elsewhere.
00:04:39 --> 00:04:41 Jessica: Good to know. Well, it's always
00:04:41 --> 00:04:43 interesting to see how filmmakers experiment
00:04:43 --> 00:04:46 with storytelling techniques, even if they
00:04:46 --> 00:04:48 don't always hit the mark. Hopefully
00:04:48 --> 00:04:51 Genovese's next project will find a better
00:04:51 --> 00:04:52 balance. Agreed.
00:04:52 --> 00:04:55 Chris: Uh, and who knows? Maybe someone else
00:04:55 --> 00:04:57 will take this concept and give it the twist
00:04:57 --> 00:04:58 it needs to really shine.
00:04:59 --> 00:05:01 Jessica: Here's hoping. Thanks for breaking it down.
00:05:02 --> 00:05:04 It sounds like Somebody to Love had its
00:05:04 --> 00:05:06 moments, but ultimately it's a bit of a
00:05:06 --> 00:05:07 missed opportunity.
00:05:08 --> 00:05:11 Chris: That's a fair summary. And hey, at least it
00:05:11 --> 00:05:14 gave us something to talk about. I hope you
00:05:14 --> 00:05:17 enjoy Somebody to Love more than I did. Rated
00:05:17 --> 00:05:19 M. It scores a five and a half out of 10.
00:05:19 --> 00:05:21 Jessica: You've been listening to movies first
00:05:21 --> 00:05:24 available at Apple Podcasts, Spotify,
00:05:24 --> 00:05:27 iHeartRadio, or your favorite podcast
00:05:27 --> 00:05:29 player. You can also stream on demand at
00:05:29 --> 00:05:30 bytes.
00:05:30 --> 00:05:32 Chris: Com. This has been another quality podcast
00:05:32 --> 00:05:35 production from Bytes. Com. Um.