Totally unawares, Saverio, a teacher and Mario, a janitor of the same school in which they both work, travel back in time and find themselves in central Italy at the end of the 15th century. They carry with them an unresolved squabble concerning Saverio’s sister, creating a lot of tension between the two, which will increase in the plot. From this moment on they will have to come to grips with the grotesque situation they find themselves in, trying to "hitch a lift" back to the future in a most outlandish way, using and misusing their foresight of the events taking place round that time, and generally making fools of themselves in the eyes of "normal" renaissance folks. Their meeting with Leonardo da Vinci is hysterical, when they become more and more convinced that the genius is in reality a moron. Another character they meet is Savonarola the heretic, who enjoins them to repent, before he is taken to the stake, eliciting some breezy comment from them. If it weren’t for a weird kind of homesickness, they would quite enjoy living in this period, full of daring fashions and tantalising damsels.
The couple shows great chemistry and is funny in every respect. The psychology of their characters is complex and credible - for once comical roles with a depth. Basically, Saverio is an embittered petit-bourgeois forever attracted and rejected by women, envious of Mario, an easy-going proletarian every woman falls in love with. Saverio is scheming, mean and vindictive as much as Mario is naive, generous and forgiving. What a match of talents: Roberto Benigni and Massimo Troisi at the peak of combined creativity. Too bad they will never come back together for another joint venture. Or maybe it is better this way: masterpieces of this level cannot be improved on, at best they can be imitated. For this reason Non ci resta che piangere will shine like a gem in the crown of the best Italian movies of all times. Sadly not many people seem to have seen it, not even in Italy, where the viewers do not need subtitles to enjoy the hilarious juggling of the two actors with the language, but their body language can be universally appreciated.
If you miss it you will have to repent!
改编自《贝利叶一家》，简直是为今年奥斯卡获奖量身定制的模版电影，编剧教科书，除了看了开头就能知道结尾之外，几乎没有缺点。
标记一下怕看重复 大概是主角团去那山蜘蛛团19集左右？tv15-21（听说）
母亲祈祷贴着电极的女婴也是聋哑，担心此后与她的人生无法同频。父亲指望出海捕鱼的水手能够健听，然而始终与她的生活无法传译。可她从没当过婴儿，也不是终生的水手，吊销执照不是她的责任。那是场最无聊的合唱，无法感知观众为何鼓掌和哭泣。却在触摸她喉头时明白，有些星星不在后院，只在海上发光。
动漫最高潮的部分单独出来，精彩，感动与惊艳。
很不错！是青春啊！番长好帅( ⁼̴̀ .̫ ⁼̴́ )✧
虚假的亲情和真实的亲情，祢豆子超可爱Ｏ(≧▽≦)Ｏ
比起第一部冗长的苦练 这部除了日式经典独白外几乎全是打斗 太好看了！
很好，但是花了2500万美金买的版权？？一个多亿的人民币？？
小新：“是风间啊!”
总体来讲没有第一部带给我的感动多，不过最后十二鬼月的变鬼经历还是挺让我震撼的。究竟什么是鬼呢？鬼是如何出现的呢？鬼分善恶吗？期待下一部。
伊之助在渐渐懂得人类的爱了。炭治郎和祢豆子的双双爆发太惊艳。
总集片，比tv版讲的更简单明了，也不知道为什么这一家子相处这么不愉快妈妈痛苦妹妹也很可怜哥哥不知好歹
比起第一部冗长的苦练 这部除了日式经典独白外几乎全是打斗 太好看了！
好迷人的小新，现实生活中假如有那么几分这样的性格都会充满魅力吧
多给一颗星，近几年最好的蜡笔小新剧场版，可以排在历年前三的位置，没想到推理部分出乎意料的好，还以为会像往年一样抛掉逻辑性，观感非常流畅。
tv版拼凑。第15~21集→《那田蜘蛛山篇》。
鬼灭之刃制作还是一如既往的强！！错了，我还以为是无限列车😂
EP.11-14 《鼓屋敷篇》
8.1分
反派的刻画则更具哲思。累把傅立叶式的乌托邦搬到家庭。姐姐陷入恶沼，却用“不得不陷进去”做借口。累死后躯体向前伸手，想要把羁绊“连回去，连回去……”
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