Rich Wright I have a few issues with this film, so take a seat. Would a defense lawyer really be able to get bail for a suspected baby murderer, and why would he arrange it so she would stay with him? I mean... this gal has already been suspected of starting two fires (One of which killed the infant) at the couple's home she's working as an au pair for, in a short space of time... and even the attorney starts to question his decision. But do we ever hear a satisfactory reason why he made such an offer? Nope.Even worse, when a blaze is started in the bedroom she's staying in at his home which destroys his shutters, AND it transpires later she lied in open court about her mother dying of a heart attack when the real cause was... guess what... a HOUSEFIRE... What does he do? Why, continue to represent her of course, and keep her on as a guest. Even when she starts trying on his dead wife's clothes without permission.Either this chap has a death wish, or he really is The Most Stupid Man In The World. Of course, we find out the fire epidemic may be caused by an unconscious supernatural trauma rather than deliberate arson, but how is HE supposed to know that? And it goes against everything he believes, being a member of a secular court process. So, why does he persevere? No idea.It's got an interesting cast too... Charlotte Rampling as a nun who also doubles as a psychiatrist. Sienna Guillory as the accused killer. And Mark Strong as the dumb-as-a-post lawyer, who's got a few skeletons in his own closet (Don't we all?). Oddly enough, despite being set in Italy, we barely hear any Italian accents, and certainly hear none of their language. Well, apart from the odd waiter. Stereotyping, much? Anyway, regardless of my complaints, it's not a terrible film and is more average than offensive.I'm not having any of this 'Based On A True Story' malarkey though. I mean... we all remember what happened with Derek Acorah now... 5/10

alienrobotz I'm sure I remember the case of the teenage fire-starter but was it necessary to sanitize the storyline with so much obvious fiction and lack of attention to the central role.While the acting from Mark Strong and Francis Barber as the defence and prosecution lawyers in this British made thriller were adequate, I frequently felt I was watching a low budget movie stretched by obvious financial constraints that severely held back the potential this movie could have achieved.I normally like Sienna Guillory who 'played down' several years to portray a nervously troubled teenager who has a complex association with fires., but this time around I wasn't convinced. Playing Julia McCullough a sensuous teenager with a limited education and the inept ability to grasp what appears to be happening around her, Sienna is a 19 year English Nanny who is subconciously obsessed with the fire that killed her mother four years previous and the blame she apportions herself with her mother's death. She moves to Italy and works as a Nanny for a middle aged couple with a small son. Unreasonable attention from the menopausal husband towards Julia which is never properly explored causes anxious concern with the once troubled teenager and fires mysteriously start in the family home, the second of which kills the baby and Sienna Guillory's character is accused of murder and arson. After a bumpy start with a totally token sex scene between consenting adults, namely the Italian couple, the film shifts into a courtroom drama with a series of flashbacks and weird links that pull the various characters together. At times Sienna Guillory's acting as the irritating Julia McCullough could be construed as wooden, the pregnant pauses and definitive passion loss when passion was most needed are blatantly ineffective. While Strong and Barber played the whole scenario like another well rehearsed British TV play with predictable effect the rest of the cast were strangely bewildered for the best part looking like they had turned up for two or three totally different productions. In fairness Guillory does on a few occasions attempt to rise above the mundane script by attempting to characterise her role, only to fall back again in the following scene. The sultry pout and little girl lost routine just kept coming back which stripped the potential this character was crying out to offer. Maybe it was all about the script, hard for an actor to act when there isn't a part to play. Having seen Sienna play well in other films, maybe it was all about the direction.How the once most desirable Femme Fatale Charlotte Rampling has lasted and in her her early 60's still looks so wonderful defies logic and in a role void of make up too, but as a 'Shrink' who doubles as a 'Mother Superior' wearing designer lingerie under a frumpy cardigan was all to US TV for me. Recruited to support the defending lawyer in figuring out how 'Julia' ticked the sexy Francophile lacked her normal presence. I was itching for a burst of Ms Rampling topless in a Nazi uniform and a pair of trouser braces covering her latter day modesty, even if it meant enduring another flashback.Window dressing with one time audience pulling actors which also included a cameo role by the normally excellent David Warner suggested the Producers needed names to prop up a film they didn't really have much faith in. Frequently confusing, the photography suffered from an overdose of soft focus, too many flashbacks and and not enough of the slow lingering close ups needed to establish the troubled mind and supernaturally vexed soul of Julia Too many times I had to ask myself was I really watching a paranormal extravaganza or a subliminal PR exercise for the Italian Lakes. as the photography and locations kept drifting away.If a story is good and you secure a great scriptwriter, a brilliant director will follow. Unfortunately this film had none of these ingredients. Budgets would have been better spent exploring the reasons behind the complexity of the central role. Having a little more faith in Sienna Guillory's emotional potential would have made this film a lot better for everyone, actors included.Best bits: Sienna Guillory's pout (in small doses) The first time I have seen a Red Double Decker Bus driving down an English Country Lane in 40 years.Worst Bits: The screenplay.

lia00027 I really don't like with the woman whom is the main character in this film. Usually we like the female main character, but I really think that she is stupid, and very suck. She can't do anything without his lawyer help, and she's acting like crazy people.This movie is not really good, because: 1. The scenario is weakness. 2. There is to much flash back which make me bored and confused. 3. One part and the other part sometime doesn't have clear relationship. 4. The ending is not finished yet, which make me hate this film. 5. Fool female main character which people usually don't like because too weak. 6. Very stupid create film about fire if even the main character problem is not known well.

Mikew3001 This movie is based on a true story: In 1979 a British au-pair girl was working for an Italian family on the island of Elba and accused of firestarting and witchcraft after a few fatal incidents and a burnt-down house - the family told the judge she has caused the fires by "supernatural powers". She was accused guilty in 1982 but returned to England.The film shows basically the same plot with stunning Sienna Guillory as the au-pair girl Julie with supernatural powers. Mark Strong plays her lawyer Antonio who has to fight mainly against prejudices and the fundamental superstition of the people and the media. Director Kenneth Hope hasn't produced a copy of the doomy "Exorcist" and "Omen" horror movies, but rather a silent psycho drama with great actings by Guillory, Strong, Charlotte Rampling, Alice Kringe and David Warner. There is no happy end, a thrilling court room drama sequence and there are also some very surreal and disturbing dream sequences.If you relate "Superstition" to the horror movie genre, it's one of the best contemporary European genre productions apart from the boring popcorn horror movie remakes and teenie slasher trash of the current Hollywood productions.