While the new Netflix-Rom-Com “La Dolce Villa” is not the unbroken catastrophe that was “mother of the bride”, I was almost as bad, the director Mark Waters’ previous excursion for the streamer, so I would feel something else As a boredom.

The film takes place in rural Italy and focuses on Eric (Scott Foley), who is back in Italy in Italy, even though he has a “cursed” relationship with the country. He does his twenty-year-old daughter Liv (Maia Reficco), who will use her inheritance to buy a villa under a new business plan, in which small cities sell the abandoned cultural heritage villa “How” for one euro as a way of selling new blood Attach for their communities. As soon as he arrives in Montezara in the village, he meets the mayor of the city, Francesca (Violante Placido), and together they slip a plan to help his daughter transform their villa into a cooking school that is even more economic boost for the city could be.

The inspiration for the film is clearly the far superior Diane Lane film “Under the Tuscan Sun”, in which Lane plays a recently divorced novelist who takes a last-minute trip to Italy, buys a villa and a completely new life for A whole new life builds for itself. Several points of action and even the score are outraged by this previous film. The biggest difference between the two film is that “under the Tuscan sun”, which was written and staged by Audrey Wells and was inspired by the popular memoirs by Frances Mayes, enjoyed the small details that make up a life and a community , how the taste of olives or dirt and dust of the renovation of a room. And of course the shining Diane Lane, freshly from her Oscar-nominated turn into “infidelity”.

Unfortunately, every script and selection of directors in “La Dolce Villa” from the casting to the flat characterizations and the antiseptic production design feel like a vapid background noise. There is no taste for how life in the village is, for the newcomers or those who have lived in them all their lives. Although we get a few personal details on the surface level over all, almost every character that leads to the lead or supporting, either a cliché or only for exposure dumps.

After the college, Liv, as we were communicated, have done occasional jobs in various parts of Italy, including nannies and English, to combine with the Italian heritage of her deceased mother. It is never clear what exactly she was studying at college or what she wants to do with her other life than living in Italy. Apart from the fact that we publish Expository talks with your father, we don’t really know how you feels to be over Italy. Finally, she entitled to the contractor who renovates the villa, which she has as an interior designer for potential, supposedly because she can use the word “mood” and select traditional colors, and puts it on with an internship for his girlfriend works in Rome. Liv’s entire character trip, be it renovation of the villa, her will-sie non-sie-like relationship with a hot local cook named Giovanni (Giuseppe Futia), and her sudden internship is not well interwoven in the film, with Liv for LIV So many long periods of time disappear that it is almost shocking when it reappears. Her scenes are also cut off and superficial to spend more time with the flowering relationship between Eric and Francesca, which is orchestrated overly by action mechanics and has absolutely no fire.

The expression “Dolce Far Niane”, an Italian concept that revolves around the slowdown of roles and enjoys the idle joys in life, is introduced by Francesca Eric in Eric. It seems as if the script is being set up in such a way that the two finally learn to accept this ethos. Although you have mentioned the sentence several times if you after a one get into an absurd situation, everything you do is still a leader to the capitalist goals of the management of a company, be it the Villa cooking school or the city.

All replacement plots of the film might be worth it if the film would actually bother to capture something memorable about Italy. Although Waters was actually shot on site in the country, he films most of the scenes in and around Tuscany and the eastern Lazio as if they were set up for postcards, but sterile and sterile and the chaotic sensuality of life. The landscape itself is turned with a really hard, bright sunlight that somehow manages to flat and wash out the beauty of the region. Leave us with cardboard figures in a cardboard land.

Ultimately, “La Dolce Villa” is as authentic as an Italian experience as a night in the Olive Garden.

On Netflix now.