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Munich
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Directed by Steven Spielberg.
Much as Steven Spielberg followed 1993's special-effects blockbuster Jurassic Park with a far more downbeat and personal project later the same year, Schindler's List, in 2005 after tearing up the box office with War of the Worlds the director closed out the year with a powerful and thoughtful drama about the human costs of international terrorism. The 1972 Olympics in Munich, Germany, were supposed to be a peaceful gathering of outstanding athletes from around the world, but on September 5, the games took a sinister turn when eight masked Palestinian terrorists invaded the Olympic village, killing two Israeli athletes and abducting nine others. The kidnappers demanded safe passage out of Germany in addition to the release of Arab prisoners in Israeli and German prisons, but when they arrived at the Munich airport they were met by German police and military forces, and in the melee that followed, all nine hostages were killed. In the wake of the killings, the Israeli government gave Mossad, the nation's intelligence agency, a special assignment -- to track down and eliminate the Palestinians responsible for the death of the Israeli athletes. A young and idealistic Mossad agent (Eric Bana) is assigned to the four-man unit created to wipe out the Olympic terrorists, but while he believes in serving his country, as their bloody work goes on he begins to buckle under the weight of his work and wonders if he can morally justify his nation's acts of revenge. Munich also stars Geoffrey Rush, Daniel Craig, Mathieu Kassovitz, and Ciarán Hinds. ~ Mark Deming, All Movie Guide
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downwestdownwest What violence does to a person
by downwest in downwest Blog
liked it.
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"Politics aside, this is an impressive work examining the humanity of the situation the plot is describing. It captures what violence can do to people, and what violence that will result in. The cinematography really did give a feel for what was happening in the film, reminiscent of Saving Private Ryan, but with no glossy shine or deliberate overexposure. John Williams once again pulls through with memorable themes and motifs. The wailing woman motif, though affecting here, has almost become old now with its recently widespread use. " [More]
TenenbaumsTenenbaums Disco! or How I Learned to Quit ...
by Tenenbaums in Tenenbaums Blog
loved it.
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"In 2005, Steven Spielberg was in somewhat of a funk. It had been 7 years since Saving Private Ryan, and in the meantime he was in a popcorn picture phase. He finished the Kubrick project (A.I.), worked with Tom Cruise twice (Minority Report and War of the Worlds), got by with The Terminal, and in the middle made a little gem called Catch Me If You Can. But where was another “important Spielberg” film? Enter Munich. The exhilarating true story of globetrotting Israel-backed assassin assassins looked like it was lifted out of the mid-70s and proved that Spielberg still cared.Until March, David Fincher was a director known for creeping out audiences in contemporary settings with the help of Brad Pitt. Then he released Zodiac, a meticulous and thoroughly engaging chronicle of the San Francisco citizens obsessively affected by the mysterious titular killer. The Vietnam-era period piece, arguably the best film of the year so far, is his strongest to date and broadened ... " [More]
slipofthetongueslipofthetongue mmmmmm...Violence Bad
by slipofthetongue in SlipOfTheTongue Blog
is neutral about it.
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"I don't want to get too deeply into the politics behind this movie's subject matter. Here are a few quick thoughts on MUNICH...1.) I like the cast (Daniel Craig, Eric Bana, Geoffrey Rush and others). The acting is quite good.2.) I like the idea of this film and there are a few insights here and there about the pointlessness of violence and our inability to overcome the endless cycle it creates.3.) I liked Janusz Kaminski's cinematography. It is polished without feeling overly glossy. It feels graphic and simple without being over-stylized.4.) Spielberg's filmmaking is becoming rather workmanlike and somewhat lifeless. Both his big budget effects movies and his adult fare (we'll call them "big boy" dramas since he merely plays at having an adult perspective) have become rather a boring affair. He's far from the "event" filmmaker he used to be. The one exception is Schindler's List which was excellent. Saving Private Ryan is somewhat over rated save for a few brilliant sequen ... " [More]
HazelHazel Overwhelming. In a good way.
by Hazel in Hazel Blog
loved it.
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"To me, "overwhelming" defines so many aspects of this movie.  The deep political tension, the task at hand, the emotional trauma, the expectations of the characters, the hopelessness.  It left me feeling so much anxiety and unease that I didn't even realize that this movie was almost 3 hours long.  I loved it.  I thought that it was great that we got some insight into the people behind the special Israeli task force,  and their personal relationship with what their job required of them.  I can't help but love a movie that also attempts to give some insight into how deeply entangled the worldviews inside the Middle East are. " [More]
SgtDobsonSgtDobson Munich
by SgtDobson in SgtDobson Blog
loved it.
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"I saw this only a couple months after leaving my first tour in Iraq. Politics nonwithstanding, this movie touches on some very real emotions and issues revolving around fighting, particularly terrorism. What struck me about this movie was how remarkably real the devolution of morality was played out. It was so hard to watch, in part because it forced me to confront my own hatred towards the same terrorists, and come to terms with some other things. In short, this movie sums up the general struggle of the warrior: fighting with honor or fighting without it. But fighting regardless. Not to mention it was visually spectacular. Loved it so much it hurts. " [More]
JimBellJimBell Munich
by JimBell in JimBell Blog
lost interest.
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"Munich (2005), which I saw in a new theatre with wide screen and super-Dolby sound, is a powerful and disturbing movie. It took me a few hours to get to sleep afterwards. It is Steven Spielberg’s imaginative version of the Munich Olympics killings of Israeli athletes by Black September terrorists, but it is primarily about the aftermath when a team of 5 Israeli secret agents tries to track down and assassinate terrorists. The movie is relentlessly violent. A movie about, say, a bank robbery need not be violent at all, but shootings and explosions supposedly make it more exciting. Munich, on the other hand, is entirely about violence, i.e., violence is the subject of the movie. But is this slightly overlong series of killings worth watching? Spielberg poses a very serious and relevant question: How should we respond to terrorist killings? More specifically, is our natural response to “kill them back” effective? The movie answers this second question in ... " [More]
RickRick Disappointing
by Rick in Rick's filmBlog
lost interest.
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"I really loved the first 1/3 of this movie, but it eventually fails.  The performances are great but I thought it was eventually crushed under the weight of the "seriousness" it was trying to achieve.  It simply goes on for too long, and feels extremely out of its own depth.  The obsession with food (preparing, sharing, eating), violence, and sex just comes off as...sophomore year of film school.All that said, I will admit that I loved the (tiny bit cheesy) 70's international locations, the overall historical intrigue, and the "Papa" character. " [More]
quintquint Re: How things should work and ...
by quint in Realism and The Lack There Of
liked it.
"Leaving doors open has always bothered me. I realize the camera needs to pass through, but little details like that always jump me out of the narrative and back to the realization that this is only a movie. French New Wave flicks play with this, sometimes to good effect. Godard is perhaps overly concerned with reminding us that we are watching a movie. Not that there is anything wrong with that self-consciousness in a film. If it is accidental though, that sucks.I was thinking about Spielberg and the movie Munich. There is a film that does alot of camera dancing. The camera tracks a person coming out of a door and getting into a car. But it is all traced across the myriad reflections on a busy street. It's a virtuoso thing that creates another self-conscious moment. Everything is perfect, every detail, and that is as foreign to reality as Godard's self-conscious nods to the camera. " [More]
bishopbishop eh
by bishop in bishop Blog
hasn't rated it.
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"i dunno. this film really didnt do a whole lot for me. not as powerful as some of his other stuff. and i just couldnt get used to the Hulk being the main Israeli. The movie really never seems to go anywhere. Seemed to be lacking a sense of direction and meaning. I guess that I was supposed to feel bad when his teammates get iced, but really, why should I? the story doesnt really build character history for anyone, including the main dude. Theres a hint that maybe mom was a crappy parent and dad was an inmate. but aside from that, i never really got into why he hated palestinians. aside from the fact that they were palestinians. i dunno. just didnt do it for me i guess. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Munich differs from all of Steven Spielberg's previous historical epics because, for the first time, the director is using the past to comment on the present. One of Spielberg's peerless talents is the ability to create tension-filled sequences. Munich's structure, following the exploits of a group of Israeli agents hunting down the terrorists responsible for the murder of Israeli athletes at the 1972 Munich Olympics, allows Spielberg to put this talent on display throughout the movie. Each of these sequences is varied so that the film avoids becoming visually repetitive even though it clocks in at close to three hours. Though the film works strictly as a thriller, the excellent script traces the gradual emotional and psychological changes that occur to Avner (Eric Bana), the man leading the group. While he never questions the importance of what he does, or really the moral authority to do it, the film does not flinch from the consequences of living in a constant state of alertness fueled by paranoia and fear. The film acknowledges both the visceral thrill and the interior decay that results from vengeance -- a word that once served as the film's working title. Munich does not carry the weight of history that, say, Schindler's List does partly because Munich exists not in a black-and-white world of good and bad actions, but instead reveals a world full of grays. Munich, although about historical events, is very much about what America asks of itself during the war on terrorism. The screenplay is savvy enough to make these themes universal so that the film will not lose its power over time, but setting the film's final sequence with the World Trade Center in the background should tip audiences to the fact that Spielberg has created a very personal reaction to current events. Taken with the same year's politically pointed remake of War of the Worlds, Munich reveals Spielberg to be, at 60, a director committed to making important films that address the tenor of the times. ~ Perry Seibert, All Movie Guide
 



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