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La mia banda suona il pop
Some protagonists of the show business of the eighties, De Sica, Ghini, Rossi, Finocchiaro and Abatantuono are hired for a show in St. Petersburg. Oh no, it could be but it is not a biographical story of the five actors I have listed, but the story of a fictional band, Popcorn, which in the eighties had a fleeting success with a couple of singles that remained in the heart of an Russian oligarch, who wants them at all costs at his house for a concert. A great comeback of old glories (and I'm not talking about Popcorn this time).
It is up to the former manager, a blue-eyed Diego Abatantuono, to put the band back together and not mission from God but for the Russian with a (well) rediscovered Natasha Stefanenko. For obvious comic needs, the four former Popocorns are doing badly. Paolo Rossi is a waiter and strums the guitar in the street, Angela Finocchiaro is a poor alcoholic TV host, De Sica plays at weddings, while Massimo Ghini is the only one that can be said without problems, thanks to the family hardware shop.
At first reluctant, again for obvious script reasons, the four accept the reunion and fly to Russia for the concert. There, however, another possibility emerges: to make a heist in the villa of the rich Russian.
Fausto Brizzi therefore returns to dealing with musical revivals, but without that hand that in the past allowed him to achieve the established objectives and not only, here unfortunately he proves to remember very well the plot of cinepanettoni, of which, as we know, he has often been author.
That’s the problem with "La mia banda suona il pop". A predictable, feeble film, which gives space to a series of gags that, except for a few isolated cases, rarely works and reaches the lowest point with the clichés about Russians. Happy 1980!
In short, a comedy farts, not only metaphorically but also physically, since our at some point also immerse themselves in the sewage.
De Sica is the leader, with a wig that recalls the Michetti brothers; he has a free way for his gags. Unfortunately, Massimo Ghini is the only one to follow him in his comic outings, while Angela Finocchiaro and Paolo Rossi seem (and their curriculum vitae are) bewildered and dazed.
Among well-placed and used eighties revival objects, including a DeLorean, Brizzi's film mentions the Blues Brothers from time to time, almost parodying them and clings to a good original sound commentary by Bruno Zambrini who composes two very hateful but effective 80's songs. However that’s not enough to reach the top ten for this mediocre comedy.