Name: Four to Dinner
Genre: Comedy, Romance
Released: 2022-01-05T00:00:00+00:00
Cast: Matteo Martari, Matilde Gioli, Giuseppe Maggio, Ilenia Pastorelli, Cristiano Piacenti

The opening scene of Four to Dinner sets a chaotic tone that never quite settles into something coherent. Four friends—Matteo, Giulia, Dario, and Chiara—attempt to cook together, their bumbling efforts culminating in a scorched pasta dish and a table set for an elegant dinner that never materializes. This kitchen disaster mirrors the film’s own struggles: a romantic comedy that aims to challenge the concept of soulmates but ultimately gets lost in its own narrative sauce.

Directed by Alessio Maria Federici and written by Martino Coli, Four to Dinner follows four single friends as they pair up in different combinations, exploring the complexities of modern love. The premise is intriguing, promising a clever, interconnected narrative that could offer fresh insights into relationships. However, the execution stumbles more often than it struts. The film’s central conceit—exploring relationships through parallel storylines—feels ambitious but ultimately falls short of delivering a satisfying payoff.

Where Four to Dinner finds its footing is in the performances of its lead actors. Matilde Gioli, as Giulia, brings warmth and wit to her role, making her character’s journey the most compelling of the lot. Gioli’s ability to convey both vulnerability and strength grounds the film in moments of genuine emotional resonance. Giuseppe Maggio, as Dario, delivers a solid performance that balances humor and sincerity. His chemistry with each of his co-stars adds a layer of authenticity to their interactions.

However, Matteo Martari, as Matteo, feels miscast. His delivery often lands with a thud rather than a laugh, and his character’s arc lacks the depth and nuance that Gioli and Maggio bring to theirs. Ilenia Pastorelli, as Chiara, also struggles to make a significant impact. Her performance is serviceable but fails to leave a lasting impression.

The film’s visual style is unremarkable, relying on standard rom-com aesthetics—soft lighting, picturesque Rome backdrops—that fail to elevate the material. Federici’s direction lacks a distinct voice; too often, it feels like he’s playing it safe rather than taking creative risks. The soundtrack, while inoffensive, doesn’t do much to enhance the emotional beats or comedic moments. The film’s cinematography is functional but uninspired, missing opportunities to use visual storytelling to deepen the narrative.

The script is the film’s weakest link. The dialogue frequently veers into clichés and awkward exchanges that undercut the intended humor. The pacing is uneven, with some storylines dragging while others feel rushed. The attempt to explore deeper themes—such as the fluidity of love and the societal pressure to couple up—gets lost in the shuffle. The film’s refusal to commit to a single tone or perspective leaves it feeling adrift.

Structurally, Four to Dinner suffers from an identity crisis. It’s not quite a traditional rom-com, nor does it delve deep enough into its philosophical musings to be something more substantive. The film’s refusal to commit to a single tone or perspective leaves it feeling adrift. The narrative jumps between different couple combinations without providing enough emotional weight or comedic payoff to justify the shifts.

Thematically, Four to Dinner aims to challenge the notion of soulmates and explore the fluidity of love. However, these themes are not explored with the depth and nuance they deserve. The film’s attempt to be both a lighthearted rom-com and a thoughtful exploration of modern relationships results in a muddled message that fails to resonate.

In terms of genre fit, Four to Dinner strives to be a romantic comedy but lacks the charm and wit that define the best examples of the genre. Films like Crazy, Stupid, Love and The Big Sick successfully balance humor and heart, offering both laughs and emotional depth. Four to Dinner, on the other hand, often feels like it’s trying too hard to be clever without delivering the necessary substance.

The film’s target audience is likely fans of romantic comedies who enjoy exploring the complexities of modern relationships. However, those looking for a more traditional rom-com experience may find Four to Dinner disappointing. The film’s refusal to commit to a single tone or perspective leaves it feeling adrift, making it difficult to connect with on an emotional level.

In conclusion, Four to Dinner is a well-intentioned but ultimately forgettable romp. It has moments of charm and some standout performances, but these are not enough to salvage its structural and narrative shortcomings.