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Christmas in Rome

Christmas in Rome

TV Movie · Comedy · Romance · 2019

An independent-minded American tour guide is fired from her job in Rome just before Christmas. She crosses paths with an American executive named Oliver, who wants to buy a high-end Italian ceramics company. Oliver hires Angela to be his tour guide around the Eternal City, as the owner of the ceramics company won’t sell it to him until he learns “the heart and soul of Rome.” But is there another heart and soul that he may win?

Movie details

Christmas in Rome

2019 TV Movie · Comedy · Romance 1h 24m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

An independent-minded American tour guide is fired from her job in Rome just before Christmas. She crosses paths with an American executive named Oliver, who wants to buy a high-end Italian ceramics company. Oliver hires Angela to be his tour guide around the Eternal City, as the owner of the ceramics company won’t sell it to him until he learns “the heart and soul of Rome.” But is there another heart and soul that he may win?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Christmas in Rome?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Ernie Barbarash

Written by

Gregg Rossen · Alex Wright · Brian Sawyer

Lacey Chabert

Lacey Chabert

Angela de Luca

Sam Page

Sam Page

Oliver Martin

Franco Nero

Franco Nero

Luigi Forlinghetti

Holly Hayes

Holly Hayes

Margaret Fletcher

B

Bryan Bounds

Jack Fletcher

Fernanda Diniz

Fernanda Diniz

Francesca Gianelli

P

Petar Cvirn

Pietro Gianelli

Court is in session

Put Christmas in Rome on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.