Directed by:
Steven SpielbergCinematography:
Janusz KaminskiComposer:
John WilliamsCast:
Eric Bana, Daniel Craig, Ciarán Hinds, Mathieu Kassovitz, Hanns Zischler, Ayelet Zurer, Geoffrey Rush, Gila Almagor, Michael Lonsdale, Mathieu Amalric (more)VOD (3)
Plots(1)
A mission to assassinate the planners of a devastating terror attack at the 1972 Olympics leads a Mossad agent into a harrowing ethical no-man's-land. (Netflix)
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Reviews (11)
Munich definitely isn’t controversial (if you’re not a fanatical supporter of either side), it doesn’t say anything new, nor does it dive into the depths of the Israeli-Palestinian conflict. It just scratches the surface and the characters talk about home. But that doesn’t mean that it is a bad movie. Quite the contrary, and because Spielberg chose (for him) an unusual method of expression (it actually seems that the movie is “controlled" Kaminski’s camera), it’s pretty fascinating. The authors also expect at least some basic knowledge about the topic from the viewer, therefore they don’t explain a lot of the names or acronyms, which is good, since the movie doesn’t treat you like a toddler.
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Brilliant craftsmanship without a drop of emotion. The combination of such a serious subject with this director promised an emotionally charged spectacle, and yet I witnessed a disproportionately drawn-out revenge spectacle. And while it was supposed to be cold-blooded, not a single scene managed to appeal to me. Spielberg wanted to make a "political espionage" thriller that would cut through the drama with interpersonal relationships, from which the lesson was supposed to be that "violence only breeds more violence." The film contains both, but neither component works as it should. Spielberg did not restrain himself and through the excessive runtime, he tries to create a moral agitprop not only for the Jews but for all people. And yet the skeleton of the story falls apart and the viewer only gets the impression of wholeness in the purges of the Palestinian terrorists, which are just pure craft, nothing more. That actually brings me back to the beginning of my commentary.
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Steven Spielberg, as a Jew, decided not to film the events that led to the killing of Israeli athletes, but rather the events that followed. Essentially, it is a Jewish revenge on people who had something to do with the terrorist action. And maybe even on people who could have been terrorists. It's a bit strange how the abduction of athletes is portrayed here because at first it seems very vivid, very interesting, but Spielberg cuts it off and presents only mechanical television news that can be viewed in archives or on the internet. Nothing revolutionary, he immediately moves on to what followed. I was a bit disappointed that he dedicated so little space to the assassination because he could have filmed it brilliantly, at least the opening scene hinted at it. But Spielberg chose the path of recording revenge, which is not a bad approach, an effort to express the motivations of the other side, their methods of work, etc. Overall, it was successful, but I still feel like the film is not as raw as it could be, but rather completely stylized, trying to play on emotions, which is due to the event itself, not Spielberg's skill. He tries to push it to the limit, giving the lives of Jews and their suffering. It's not bad, the film is well directed, but the main surprise of the whole film is the fact that Eric Bana can also act. More: http://www.filmovy-denik.cz/2012/10/prach-uspesna-pokracovani-animaku.html
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This matador of a director wins on all fronts. Whether he's making Eric Bana cry on the phone or serving up a team that shoots at anything that comes their way. Some rough scenes I wouldn't have expected from him, even though I already know from other wars what he's capable of. Steven Spielberg simply doesn't hold back from diving into historical issues, this time ones that also affect the present. And he has successfully completed his mission brilliantly as never before.
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I'm beginning to get the impression that in the last two years Spielberg has finally fully matured. The sweet happy endings have disappeared together with the sentimentality, and the family atmosphere perfumed with popcorn is definitively gone as well. However, Munich did not resonate with me as much despite all its seriousness and undeniable power. Technically, it is absolutely polished, but it is as cold as ice, and that is something I am not willing to tolerate. Eric Bana is excellent, and the screenplay is flawless, but the story is presented in such an uninteresting form that it is difficult to empathize with the characters and immerse yourself in their world of terrorists and espionage. The action is brutal, cold, and in certain aspects reminiscent of, for example, Schindler's List. Technically, it is traditionally perfect with brilliant lighting and overall arrangement of the mise-en-scène. My only criticisms relate to occasional confusion and lack of emotions, two flaws in its beauty, two stars down.
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Gallery (32)
Photo © Universal Pictures
![Munich - Lobby Cards](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/159/356/159356239_15ab07.jpg)
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