Non ti muovere 2004

Terry Lawson, Detroit Free Press: Though beautifully shot and acted, Don't Move still holds limited appeal. Read more

Achy Obejas, Chicago Tribune: Manipulative in the extreme. Read more

Tom Keogh, Seattle Times: This is a very watchable movie, but in the end it's like realizing you've spent a couple of hours in the company of an outwardly civilized jerk. Read more

Ruthe Stein, San Francisco Chronicle: It's behind the camera where Castellitto does his best work. He immediately pulls you into the story and when it's over you don't want to move. Read more

AV Club: Read more

Ty Burr, Boston Globe: Castellitto keeps cranking up the melodrama and l'amour fou, and after a while you realize he has no idea when to stop. Read more

Kevin Thomas, Los Angeles Times: A full-bodied, all-stops-out love story with a wrenching impact that makes most of today's screen romances seem undernourished by comparison. Read more

Eric Harrison, Houston Chronicle: It has grand flourishes, bold strokes and a soundtrack that swells with emotional Italian and American rock, but it doesn't go over the edge of sentimentality. It's too hard-edged and its acting is too restrained and fine for that. Read more

Owen Gleiberman, Entertainment Weekly: Now here's a daring version of l'amour fou. Read more

Philip Wuntch, Dallas Morning News: Erotic yet lyrical, graphic yet subtle, edgy yet uplifting, disturbing yet reassuring. Read more

Ernest Hardy, L.A. Weekly: Though sprung from the mind of a woman, the film plays like a hetero male fantasy of tortured love. Read more

A.O. Scott, New York Times: What could have been a provocative psychological drama is instead a dishonestly romantic exploration of narcissism and exploitation. Read more

Jeff Strickler, Minneapolis Star Tribune: The performances are exquisite. Read more

Rick Groen, Globe and Mail: We just don't learn enough to compensate for feeling so little. Read more

Susan Walker, Toronto Star: Castellitto must have been aiming for a story of redemption here. All he achieves is melodrama. Read more

Time Out: Read more

Deborah Young, Variety: The two things that keep the film from falling into laughable melodrama are its continual inventions on a stylistic level ... and the exceptional level of acting. Read more

J. Hoberman, Village Voice: A movie of robust scenes. Read more

Michael O'Sullivan, Washington Post: Romantic melodrama of the worst kind. Read more