‘I lost a friend of almost 40 years’: Nancy Meyers pays tribute to Diane Keaton

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Film-maker who directed Keaton in Something’s Gotta Give, and wrote Baby Boom and Father of the Bride, says ‘we have lost a giant’ Film-maker Nancy Meyers has paid tribute to the late Diane Keaton, her “friend of almost 40 years” and collaborator on celebrated comedies Something’s Gotta Give, Baby Boom and Father of the Bride. On Monday, Meyers wrote on Instagram that she’d had a difficult 48 hours since Keaton’s death was announced on Saturday, but “seeing all of your tributes to Diane has been a comfort.” Continue reading... from Film | The Guardian https://ift.tt/TFc820j via IFTTT
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My Tennis Maestro review – unforced errors keep Italian coming-of-age comedy from grand slam

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Venice film festival
Pierfrancesco Favino is a robust lead as a teenage tennis hopeful’s charming yet flawed new coach in a film that’s too long and too indecisive to stand up to recent big hitters

We have had some sparky tennis movies recently, such as Luca Guadagnino’s Challengers and Reinaldo Marcus Green’s King Richard, and it seemed at first as if this coming-of-age comedy from Italian actor turned director Andrea Di Stefano could be joining them. But despite a very robust lead performance from Pierfrancesco Favino, the enjoyably grizzled alpha male of Italian cinema, this completely runs aground in the third act, quite unable to decide if it should offer the traditional comeback story of an underdog sports movie, or if it should pursue its implied repudiation of the win-at-all-costs ethic. The other issue is whether its young hero should ignore what his dad has to say in favour of an attractive, if flawed, new mentor. The film does in fact appear finally to get off the fence on this last point, but not very satisfyingly or convincingly, and the final wink to the camera is irritating and misjudged.

The setting is the early 1980s and Tiziano Menichelli plays Felice, a 13-year-old kid who has been fanatically schooled by his dad in Italian tennis’s lower, relatively undemanding “regionals” competition. Felice has been taught to revere the stolid, machine-like baseline play of Ivan Lendl, and Felice’s grinding efficiency wears down his opponents. But the father then decides that his son deserves glory at the national level and to that end hires a professional coach with money the hard-pressed family really doesn’t have. That coach is the handsome, charming and yet somehow unreliable Raul “the Cat” Gatti, played with grinning machismo by Favino, who once got to the last 16 of a big competition, was pictured in the gossip mags, but dissipated his talent with booze and womanising, and now desperately needs the money after recovering from a breakdown in a clinic, a subject the movie treats with cheerful bad taste.

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