My Name is Vendetta may have a unique title and locale, but it ultimately reaches the same conclusion that mafia films have for decades. The genre has witnessed some commendable plot and character advancements.
Even television has got the intestinal fortitude to immerse itself in this mysterious and alluring realm of crime and violence.
However, this Italian film is not one of them. My Name is Vendetta is unable to transcend the history of mechanics of Mafia film clichés, despite its extensive pursuing and murdering scenes.
The predictability aspect is extremely remarkable. Perhaps until Sofia (Ginevra Francesconi) posts Santo’s (Alessandro Gassmann) photograph to Instagram, we anticipated a distinction.
After that, the picture fell into mediocrity from which it could never recover. The Mafia genre is such that characters can be written in a variety of ways to evoke different emotions and meanings in the audience.
Perhaps even the same point that My Name is Vendetta attempts to make. The fate of Sofia, Santo, and Angelo, however, has been set in stone by this screenplay. And the content is not persuasive.
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Director Cosimo Gomez has worn various hats before to assuming his current position. He has previously worked in the art department, costume design, and set design for films. Although he has a respectable track record in these roles, his directorial efforts have been, to say the least, unsatisfactory.
Both of his other features (Io e Spottyy and Ugly Nasty People) have lost momentum and surrendered their distinctive narrative stances to genre cliches. His most recent film likewise suffered from the same condition.
The primary issue is still the script and the priorities in Gomez’s cinematic universe. The latter seems incongruous and suggests that he has difficulty making a creative judgment. If you opt to wrap up the roots of the vendetta within the first fifteen minutes, you may just concentrate on designing stunning action sequences.
This film could have worked wonderfully for action fans if the aforementioned statement had been accurate. In contrast, it is not the case. Santo dismisses Angelo’s troops in a monotonous manner. Unfortunately, this persisted into the finale, making it an enormous letdown.
It was almost as if we were observing an indifferent player playing a video game in which he was well aware of the objective. Because he has done it numerous times previously.
If the motivations for the vendetta are not resolved in the first 15 words (which is not the case here), you should focus on character development. Place the activity on the sidelines for a while.
Balancing the two is a rare art that we did not anticipate before to viewing the picture. Prior to Gomez, very few had accomplished this feat, and perhaps his lack of commitment demonstrates how difficult it is.
With any option, you must support your argument with solid writing. As a director, there is only so much you can do. But because Gomez is one of the groups that wrote this film, his share of the culpability is greater.
The discourse is lacking in impact. When two characters converse, there is no back-and-forth or rhythm to add life to the plot.
The lack of climactic moments that can sway viewers is unquestionably the largest flaw. From the conclusion of My Name is Vendetta, the main focus was on Sofia’s coming of age.
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However, the viewer’s awareness occurs quite late in the film. By then, you will have already decided, and there will be nothing you can do to change your decision.
The underlying problem with My Name is Vendetta is that it does not fall into either the category of slow-burn serious-minded dramas that redefine the genre or the category of fast-paced action and thrills-filled entertainment that excites you. It remains somewhere in the middle, which is the worst possible outcome.