Nanni Moretti’s new film is a satire of Catholic devotion that, at its best moments, performs satire’s greatest trick: being sharp and incisive without being mean-spirited. So this is a funny and empathetic film, and above all, it’s elevated by Michel Piccoli’s performance. But by the end, it’s a surprisingly underachieving one as well, leaving its concept and characters underutilized and spending so much time on cuteness that the climactic speech can’t help but feel a bit unearned. In short, it’s anticlimactic rather than incendiary, and it’s strange (and perhaps a sign of these cynical times) that a film can make such an iconoclastic statement about Catholicism and cause scarcely a ripple. This is my first Nanni Moretti film, and it feels like the work of a talented director who’s done much better—but that’s just a critical way of saying that Habemus Papam can get you to put his other films in your Netflix queue.