I am Not a Berlusconi supporter, I will say that these  Reviews are like done in a vacuum, as if the US is Not worse in it's Idiocy Reality Shows, and the US with 300 Million people, and Italy has 60 Million  
 
Media Tycoons in the US,  Rupert Murdoch, Sumner Redstone, Mortimer Zuckerman, Michael Bloomberg, Michael Eisner, Sam Newhouse, Annenberg Family, the Sulzberger Family, are doing FAR worse with their Distorted and Fabricated NEWS !!!!
 
Silly Entertainment shows is ONE thing, But MANIPULATED NEWS is SERIOUS STUFF !!!!!!. 
 
New York Times Blog:"Sex, Lies, Videotape"; "Videocracy" is a scathing appraisal of Silvio Berlusconi's effect on the Italian psyche.
http://tmagazine.blogs.nytimes.com/2010/02/12/
the-moviegoer-sex-lies-and-videotape/
 
New York Times; By Manohla Dargis "Videocracy" a queasy-funny and unapologetically biased look at the televisual world that the Italian prime minister has created. http://movies.nytimes.com/2010/02/12/movies/12videocracy.html
 
The L Magazine: "Videocracy"  swings and misses at the Italian Media Mogul and Autocrat. It traces the right-wing Berlusconi's financial and political ascendance to a late-70s call-in quiz show on a local channel owned by the then up-and-coming entrepreneur, in which a masked woman removed an article of clothing for every correct answer. The popularity of this (burlesque) strip show apparently initiated a bread-and-circus broadcast culture......... that has, by distracting a celebrity-obsessed citizenry,  ...Hell that sounds a LOT Better than our Reality Shows :) :) :) 

http://www.thelmagazine.com/newyork/videocracy-
swings-and-misses-at-the-italian-media-mogul-and-
autocrat/Content?oid=1536702
 

Especially for Americans accustomed to complaining about the high-octane vapidity of our own media culture, "Videocracy" is like a startling glimpse into a funhouse mirror or a science-fiction alternate reality, one that suggests things could be a lot worse than they are. If you imagine an America in which Rupert Murdoch owns all the major broadcast networks along with most of the cable channels and publishing houses, and then gets himself elected president for life -- and further imagine replacing the American blend of sexual Puritanism and hypocrisy with the cheesiest kind of Euro-licentiousness -- you've got the democracy of boobs (in all senses) depicted by Gandini.

An Italian who now lives in Sweden, where he was startled to learn (he says) that state-owned television doesn't involve lots of game shows featuring semi-naked chicks, Gandini builds an ominous and suggestive argument about the nature of Berlusconi's power, without ever getting too specific. Italian girls show up by the dozens to audition for jobs as veline -- slinky TV-show dancers who never speak -- while the guys reimagine themselves as 'roided-up hybrids of Ricky Martin and Jean-Claude Van Damme. By mixing traditional ideas about Italian masculine honor and feminine beauty with an especially stupid variety of 21st-century celebrity hotness, Berlusconi has created something like a soft-focus neofascist movement with no ugly, grating ideological edges. You can taste, as Gandini notes, some unpleasant gristly bits beneath the candy-coated hedonist surface: Talent agent and Berlusconi confidant Lele Mora, a weaselly little man in white who keeps Il Presidente's empire supplied with beef- and cheesecake, is happy to demonstrate the fascist-era propaganda hymns, with accompanying Mussolini slide show, on his smart phone.

God knows I don't want to see a fair-and-balanced documentary about Silvio Berlusconi, but Gandini's film, although it's handsomely made and thoroughly addictive, is too full of muttering and innuendo and sinister atmosphere. The only alternative to Berlusconi's vision of Italian society he ever presents in the film comes from Fabrizio Corona, an infamous paparazzo -- more accurately, a paparazzo impresario -- who has turned himself into a bad-boy celebrity by blackmailing famous people (including the Berlusconi family) with unflattering candid shots of their private activities. As any media-studies grad student can tell you, the society of the spectacle loves nothing more than this kind of pseudo-rebellion, which only validates the meaning and importance of the spectacle itself.

You would never learn, from watching Gandini's film, that Berlusconi was elected to his third stint as prime minister, in 2008, with 46.5 percent of the vote, making his ruling coalition (like virtually every other in postwar Italian politics) relatively fragile. As in most of Europe, the center-left opposition, led by the Democratic Party, is undergoing a period of drift and dysfunction, and Gandini correctly observes that the new Italian formulation, in which media and political power are concentrated in one movement and one man, suggests dark and dangerous possibilities.

But you'd also never know from "Videocracy" that Italy's university-educated professional class largely loathes Berlusconi and what he represents, or that the last few years have seen an explosion of Italian cinema and literature -- from award-winning films like "Il Divo" and "Gomorrah" to the novels of left-leaning politician Walter Veltroni -- reflecting widespread intellectual disaffection. Gandini makes it seem as if the nation of Dante and Fellini has been conquered by "Girls Gone Wild." As hyperbolic cases go, that's a pretty delicious one, but it's not quite true yet.

"Videocracy" is now playing at the IFC Center in New York, with other cities to follow. 

http://www.salon.com/entertainment/movies/videocracy/?
story=/ent/movies/andrew_ohehir/2010/02/12/videocracy
 

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