CLOSE TO THE POINT, BUT ALAS...

Wartime stories are kind a worn out genre, even in Europe, which tried to give them some more humane touch (”A very longengagement”, ”Atonement”, ”Enemy at the gates”).

”Frantz” is one of those humane dramas about the gallantry and knighthood between the enemies and a discreet love triangle that emerges among the hatred and fresh wounds after the ending of First World War.

Slow tempo and gradual building of tension will seduce the viewer in the first part of the movie, but will leave the story open and pretty much without the required climax and outcome.

”Frantz” is a solid piece of war/love drama, but not a special one as well.

FRANTZ – 5/10

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RUSSIAN ”APOCALYPSE NOW” ON STEROIDS

Classic Russian cinema is THE ARTSIEST one in the world. It is built on basic graphic elements and a powerful symbolic of the simple and direct script.

On the other side, the Russian war movies of the past were quite often drowned in pathetic and overemphasized patriotism, which lead to a significant diminishing of their art qualities.

All of this can not be said for the one of the most powerful and most painful to watch war stories ever, ”Come and see”.

Elem Klimov filmed a merciless and never ending torment for the average viewer, bombarding him from the very start with unbearably intense editing of every imaginable war horror from the deepest levels of hell. Although basically empty in the script line, ”Come and see” will first extinguish your soul and then blow you away with one of the most powerful endings in the history of war cinema.

”Come and see” is one those movies you will watch only once, but will never forget.

COME AND SEE – 8/10

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HALFWAY SOLID

There was a wave of innovative movie scripts in the nineties that wanted to offer a different perspective of war insanity and its futility. „A midnight clear” is one of those attempts, although it may be considered only half successful.

Intro about the group of American reconnaissance soldier stranded deep in the Ardennes prior to the Nazi offensive experiencing eerie provocation from the enemy is certainly the better part of the movie, playing around with the viewer’s mind.

However, the second part of the movie and its conclusion fail to materialize that leverage, leaving the script and a solid cast of young actors (Hawke, K. Dillon, Berg) to hang somewhere in between.

„A midnight clear” could have been a great war movie, but it’s only a solid one.

A MIDNIGHT CLEAR – 6/10

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CLASSIC TRASH

Walter Hill knew how to direct an action movie and an tense one as well.

Story about the group of National guardsmen stranded deep into the marshes of the American south will give us all the basic elements of a Vietnam war movie without having a real conflict in sight. Some great moments of prejudice and racism will also enrich the plot, however trashy it may be from the beginning to the very end.

As for the acting, all the b-movie stars from the ’70s and ’80s will be there, as well as the similar production.

„Southern comfort” is a solid piece of b-production action from some past decades.

SOUTHERN COMFORT – 5/10

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FARAWAY, SO CLOSE TO PERFECTION

Christopher Nolan is one of those movie people that has been close to the laureates from the very beginning of his stellar career, but somehow always failed to materialize his enormous talent.

One of the most inspiring wartime stories of all time, English evacuation of expeditionary forces from the coast of Dunkirk in 1940, was one of those scripts waiting for a diversely capable man behind the camera to take it to the stars.

And Nolan did it, creating one of the most tense war movies ever filmed, using everything he has to recreate the unique claustrophobic atmosphere through three overlapping stories (beach, air, water). He also didn’t abandon his trademark storylines intertwining masterfully leading them to the major problem of this movie.

Its ENDING.

If it weren’t for the bottom quarter of the script, we would be now talking about „Dunkirk” as the best directed war movie of this century. If it weren’t for the surreal heroism, pathetic patriotism and sudden lack of brutality, „Dunkirk” would’ve been known as a total triumph of Nolan’s supreme cinematography. Unfortunately, loss of the control over the script managed to severely diminish perfect sound, sound mixing, wide angle, handheld camera and realistic sea and sky battles, as well as some solid acting (Murphy, Whitehead, Rylance) and that is a real shame.

„Dunkirk” is one masterfully directed war story that will awe you in the first three quarters of its course.

DUNKIRK – 8/10

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DANISH BLOWAWAY

 

Danish contender for the „Oscar” for Best foreign language movie brings us a brutal and relentless story about the German POW that are forced to clean the beaches of Denmark after the World War Two. Most of those prisoners were very young, so the tragedy of this dangerous job thickens as the story unfolds.

As for the cast, there are two opposites, pictured in the boys   commander, Sergeant Rasmussen (Rolland Moller) and his fellow Danish officers. Cast is reflected by the two opposite attitudes towards the kids, so some heavy drama is guaranteed. The pace and the outbursts of explosives and characters will pick up, leading the drenched out viewer towards the end and much needed redemption.

„Land of mine” is not your typical war drama. „Land of mine” is a true European style real life drama.

 

 

LAND OF MINE – 8/10

 

 

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UNREAL, PATHETIC AND SPECTACULAR

Korean historical war movies tend to overact with pathetic patriotism and the story about one of the greatest naval victories in Second war with Japan in late 16^th century is one of those scripts.

Also, entire concept and strategy described will stay pretty much doubtful when it comes to the level of reality. Acting will be solid, led by reliable Choi Min-shik, while the show will be stolen by some really innovative action sequences and quality CGI.

„The Admiral” is a true spectacle, but also a one huge exaggeration of historical facts.

THE ADMIRAL – 4/10

FOTO: korea.net

KOREAN TACKY ROMANCE

„The Classic” has all the major elements of a tear sobbing romantic drama. Time overlapping, love letters from the past, war and tragedy looming upon a young couple in love, etc.

Maybe that will be enough for an average lover of the genre, but not for me. For me, it's just plain boring, corny and tacky all the way to the very end.

„The Classic” will be loved by housewives in their mid fifties who love to read paperback novels on a summer vaction and not many more.

THE CLASSIC - 4/10

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BEST HOLOCAUST MOVIE EVER!

Little is known worldwide about one of the bloodiest conflicts of the 20th century, The Second Sino-Chinese war, that began in 1937 spanning all the way to 1945. During that war many fierce atrocities have been made by Japanese, amongst which the so called Nanking massacre ranks as one of the goriest.

Nanking was the capital of China and fell in to Japanese arms in 1937, resulting in thousands dead soldiers and civilians, as well as some 300.000 women raped. That’s right, 300 THOUSAND.

Young Chuan Lu directs his epic war drama masterpiece around those historical facts bringing us some of the creepiest, most brutal and heart stabbing individual stories behind the numbers of casualties. Camera is simply flawless, climaxing the massive scenes and wide angles as well as the effervescent focus exchange. Screenplay is the world for itself, bringing some of the most striking characters into the genre of war drama, a short but mighty Chinese soldier Lu (Buster Keaton like Ye Liu), unbelievably potent Sino-civilians Mr. Tang (Wei Fan) and Mrs. Jiang (Yuanyuan Gao), as well as the immortal male lead, Japanese soldier Kadokawa (Hideo Nakaizumi). Performances will be extraordinary, as well as the timeless lines overflowing from every major scene and twist in the story. The patriotism will be omnipresent, but so discreet and reduced to a symbolic level that you won’t even sense it. There will even be a place for some seed of hope. Tiny one, but undoubted.

Forget about „Schindler's list”, „Pianist” or even the „Son of Saul”.  Chinese „Nanjing! Nanjing!” (original title) is the ultimate war movie, war drama and holocaust drama!

„City of life and death” is one of those movies that you will be able to watch only once, but also one the flicks that you’ll remember for life. I’ll guarantee that.

CITY OF LIFE AND DEATH - 10/10

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TOO SAFE

Modern Danish movie is fascinated by the war in Afghanistan and overseas military missions of local soldiers, so „A War” chooses to follow the well lit path of „Brothers” and „In a better world”.

Unfortunately, unlike Susanne Bier's dramas, „A War” significantly fails to deliver the authencity and suspense expected from this productive and creative small European cinematography. It also doesn't  deliver the much needed sense of reality into characters, leading the story about collateral damage in Afghanistan too „safely” to the very end.

„A War” could've been a great post war drama, but it just isn't, especially coming from the leading spear of modern day cinematic drama, Denmark.

A WAR - 4/10

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CHEAP AND CORNY PAID WAR PROPAGANDA

Civil war in the Balkans during the '90s represents one of the least adequately depicted ones when it comes to Western cinematographies, so the „Twice born” is no exception.

Tacky story, pathetic twists as well as poorly played main cast (Penelope Cruz, Emile Hirsch) could be considered just as a flop if it weren't for the really well thought out premeditation to blame it all on the one party in the conflict.

Aside from clearly laid out political and financial inputs, „Twice born” is just one really, really bad movie in every major aspect.

TWICE BORN - 1/10


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JUST NOT THERE YET

FOTO: filmcenter.cz

Czech cinematography has had its peak back in the mid-20^th century, so every new flick coming from that country is constantly being compared to the ones of the „golden era”.

„Zelary” is a classic slow pace Second world war drama combining the elements of civil war and the fate of the Czech pictured through the main female character (played by Anna Geislerova) and her patron (György Cserhalmi) who falls for her charms.

The script is unwinding in a pretty obvious way and only occasional violence tends to break the smooth sailing of the entire story. The dash of Russian-made terror just adds to the overall feeling of safe ending.

„Zelary” is a solid slow pace war drama, but without the much needed amplitude.

ZELARY - 5/10

FINNISH BLOODY RECONCILIATION

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One of the first war conflicts on the European soil prior to Second World war is the short, but bloody dispute between pro-Nazi Finland and communist Russia that succeeded in hiding from the mainstream cinema of both countries up until „The winter war”.

Although modest in resources and orientated towards artsy flicks, Finnish cinema brought us a fairly successful war story about freshly drafted Finnish infantry that engage Russians in the icy forests and meadows devoured by artillery and tanks on both sides.

„The Winter war” is a solid war flick, with some unexpected dramatic and bloody scenes, but not much depth to the story to go along.

THE WINTER WAR - 5/10

ESTONIAN REDEMPTION SEEKER

FOTO: estonianworld.com

Estonians fought for both sides during the Second world war, but they did it much more for the Germans and this movie won’t change that fact, despite occasional solid action sequences, depictions of meaninglessness of war and several laughs along the way.

”1944” is a politically motivated film placed inside anti-Russian worldwide hysteria coming from a small country with some nasty historic issues.

1944 - 4/10

SMALL, BUT POWERFUL

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Golan heights and the outcome of the conflict which took place on the southernmost occupied part of Syria is one of the most bizarre when it comes to freedom of people to move from one side of the border to the other one.

In the centre of this Golanese movie story is a young bride to be, and her adventure to join herself in the holy matrimony with her fiance on the Syrian side of the border. Her inability to enter Golan ever again will lead to several complicated inter family breakouts and some hilarious moments as well.

Script dribbles well through every circumstance, climaxing towards the end of the film with all the major characters being stranded between two border crossings, not being able to move forward or behind. Ending will promote somehow sidelined bride into focus, wrapping up this untypical film story the only way it was able to.

”The Syrian bride” is an powerful indie with unbelievable story whose existence major part of ”civilized” isn’t aware of.

THE SYRIAN BRIDE - 7/10

STILL A CLASSIC

FOTO: www.widescreenmuseum.com

Following the Academy’s greatest injustice in its history, I started exploring Peter O’Toole’s filmography with its most famous movie, an epic historic spectacle.

Although filmed in the early ‘60s, ”Lawrence of Arabia” is still a masterpiece of directing, camera, action sequences and special effects, done the old fashioned way, 100% analogue.

Subject itself, as well as the acting are still persuasive and applicable on the Middle Eastern geo-political situation, although occasionally naïve by today’s standards.

”Lawrence of Arabia” is a true gem of old-school filming that can be a lesson for the corny uninventive CGI filmmakers of today.

LAWRENCE OF ARABIA - 7/10

THE KOREAN WAY

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”Based on a true story”.

If this story is true, then ”My way” may just be the most fascinating journey in the history of war movie genre. A Korean (Dong-gun Jang) and a Japanese (Jo Odagiri) athletes odyssey leads them across the globe, starting at Korea, moving to Siberia, only to end on a D-day in Normandy 1944.

Action sequences are masterfully led by the directing arm of Je-kyu Kang, although often unrealistically empowered when it comes to special effects. Script tends to repeat itself, but with a purpose, trying to emphasize the meaninglessness of war and the Korean role in it.

Ending is equally strong as this entire war movie ”on steroids”, leaving the spectator just awed by the mysterious ways of the human destinies inside the global conflict.

”My way” is truly a remarkable war story and you should see it, even if only for that.

MY WAY - 7/10

RUN, OMAR, RUN!

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Another war torn story comes from the Middle East in the form of indie flick about the problems that young Palestinian Omar endures on his way towards normal private life and loyalty to his people in the fight for liberation from the Israeli oppression.

Although fundamentally naïve in its basic concept, ”Omar” offers some good dilemmas and closed loop consequences of the choices made by its main protagonist (talented Adam Bakri). These lead to some spectacular chases around the old city walls, which are the best action sequences in the entire movie.

Above mentioned is something that can be found in many movies with the similar subject. The thing that separates ”Omar” from the rest of the politically and socially engaged scripts is its very end. Brutal and surprising, it will raise the entire rating by a notch or two.

”Omar” is something already seen, but with a powerful ending worth waiting.

OMAR - 7/10

SLOW, BUT POWERFUL

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Film stories that come from the Middle East Bermuda triangle (Palestine, Lebanon and Israel) all tend to suffocate in the harsh environment of the messy and bloody civil war that rampages these countries for the past few decades.

However, ”Paradise now” tends to move the ladder of the unthinkable even higher when two Palestinian best childhood friends are selected for the next suicide bomb attack in Tel-Aviv. Entire script revolves around their last day/night and dilemmas and insecurities that his horrific assignment carries with it.

Two lead males (Ali Suliman and Kais Nashif) are very good, as well as the supporting cast which has the ungrateful task of shedding a light on the pros (if any?) and cons for this decision.

”Paradise now” represents a drama so different from the majority of genre that it deserves your attention and appraisal.

PARADISE NOW - 8/10

UNINTERESTING

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American war stories are these days literally drowning in the sea of pathetic scripts and badly camouflaged CGI.

”Unbroken” is no exception from that trend. True story about the Olympic athletic champion and his journey through the WWII as an aviator is fascinating, but does not relay that fascination to the silver screen. On the contrary.

Angelina Jolie’s ”Oscar” runner for this year is just plain naïve and corny mashup of unrelated episodes in the Japanese captivity. This goes to the Jack O'Connell's acting and rare action sequences as well.

You should bypass ”Unbroken”, even if you don’t  know any wiser way to spend your Sunday afternoon.

UNBROKEN - 3/10