München

Sehr fragwürdige 4*. Spielberg ist leider groß geworden und die emotionale Plattheit und die akademische Kälte, die man seinem Film Krieg der Welten verzeihen konnte, kann man München nicht mehr verzeihen. Krieg der Welten hat nämlich perfekt als ein purer Horrorfilm funktioniert, in dem technische Aspekte der Filmemacher-Arbeit für Angst und Gänsehaut sorgen. München bemüht sich um eine geistreiche Analyse von ernsten Themen. Eine ausgefeilte technische Präzision ist in diesem Fall aber nicht ausreichend. In dem langwierigen Film funktioniert so richtig nur eine Sache – die naturalistisch kalten Morde, besonders der Mord der jungen Frau auf dem Schiff. Manche könnten sagen, dass mich München deshalb nicht angesprochen hat, weil mich der Konflikt der Moslems und Juden nicht betrifft. Ich bin kein Jude und Schindlers Liste gehört trotzdem zu meinen Top 10 Lieblingsfilmen. Weil er ein Herz wie ein Elefant hat. (14.03.2006)

"Israel has lost her son" some Israeli leaders bitterly declared about Spielberg. What got them so riled up? Although Munich is first and foremost a suspenseful spy thriller, Spielberg is no longer just someone who has E.T. saying "Go home" and Indy wielding his whip for the audience's pleasure, now he also wants to comment on the world's ills, both historical (Schindler's List) and current ones, such as the pressing Israeli-Palestinian issue. When he says through the character of Robert: “All of this blood comes back to us,” or when Avner, in Eric Bana's convincing performance, says “Did we accomplish anything at all? Every man we killed has been replaced by worse. There's no peace at the end of this no matter what you believe.", perhaps this is Spielberg voicing his own opinion, and I believe this was hard for Israeli leaders to listen to (but to be clear, I'm on their side). Politics aside, what's left? Above all, a masterfully directed thriller that captivates with perfect filmmaking (I would highlight the precise set design with a perfect 70s atmosphere), is free of pathos, which has always been a sore point of Spielberg's serious films, and in several scenes proves that this overgrown child can shock properly (I don’t think I’ll forget the harsh naturalistic scene of the killing the Dutch murderess). Munich may not have as deep an emotional impact as Schindler's List or Amistad, but it is a piece of attractive, honest filmmaking that wants to say something, and it says that something in a highly attractive way. To miss it would be a mistake. (02.04.2006)

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. (24.03.2006)

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. (05.02.2006)

The director matador wins on all fronts. Whether he makes Eric Bana cry on the phone or serves a commando that shoots at anything that comes their way. Some rough scenes I wouldn't expect from him, and I already know from other wars what he is capable of. Steven simply doesn't hesitate to delve into historical issues, this time ones that also affect the present. And he successfully completed his mission as brilliantly as never before. (08.07.2006)

In the case of Munich, a comparison with the recently made film The Baader Meinhof Complex is possible and even desirable. While the German film is a precise analysis of a terrorist organization and manages to fit its inception, era of greatest success, and defeat into one feature-length film in a very complex way, prioritizing the analytical perspective over the entertaining aspect, Spielberg used a well-known terrorist act as a starting point for a drama that aims to entertain the audience and take certain ethical stances. It is definitely not a credible film in terms of historical accuracy, mainly because there are no verifiable documents - secret services and terrorist organizations usually do not reveal the details of their operations to the public. The Mossad agent, who served as the inspiration for the main protagonist, also noted that the character of the actor portraying him differed significantly from his thoughts and actions, so the film is certainly not a credible account of the events. Spielberg's approach is certainly pleasing to audiences, but from my point of view, the actions of the Israeli commando are burdened by unprofessionalism and in many details, they are not trustworthy. The screenwriter drew too much inspiration from spy pop culture thrillers like Ronin; for example, it is difficult for me to imagine that the top-secret Mossad, considered along with the East German Stasi as the absolute pinnacle of secret services in the second half of the 20th century, would depend on collaboration with an unknown private organization with uncertain goals and unpredictable behavior. From an acting perspective, this is a high-quality project. The screenplay and direction are traditionally at a high level, as is customary for Spielberg. The unexpected encounter of members of the commando with a group of OOP fighters, with a series of polished dialogues and the scene of their rivalry over a radio receiver, is undoubtedly pleasing to the audience and dramatically refined. Likewise, the portrayal of individual terrorist attacks, executions, and conflicts will satisfy both traditional genre fans and viewers who are looking for more than a one-dimensional action spectacle. Overall impression: 85%. (08.08.2009)

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. (06.07.2006)

On the advice of a mysterious French family organization, Mossad assassins head to London in search of their target, the leader of the Palestinian Black September movement. There, however, the assassination is thwarted by undercover CIA agents guarding the leader in exchange for not attacking American diplomats. Later that evening, one of the assassins is killed by a Dutch assassin, apparently hired by the Palestine Liberation Front. God, I love the '70s! I find Munich (like Saving Private Ryan or Schindler's List) the perfect motif on which to pair Spielberg's choreography with Kaminski's experimentation. The numerous scenes and their detailed composition here create a view of a Europe riddled with agents meeting in restaurants, markets, and bars, where everyone has a purpose and takes a side. Even with this simplification and aesthetic stylization, Munich is a first-rate spy genre film (the spy team is like something out of a game) where almost every sequence is carefully crafted and has its own visual attributes. The risk of sentimental idiocy is condensed here to just one scene in which a sweaty Eric Bana has sex with a terrorist (I would have been so uncomfortable in the cinema), the rest is still Spielberg full of energy and ideas. Given the way the film looks and tells the story, it still more than anything creates the illusion that the world was the most interesting when it was the most dangerous. (04.02.2022)

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 (01.03.2013)

MAY CONTAIN HINTS OF SPOILERS. Spielberg's masterpiece in every respect. The technical aspects, including the editing, sound, visuals, and directing are impeccable, and most importantly, even with the insane running time, Munich never bores for a moment; when not serving up top-notch action, the thoughtful preparations and negotiations get their due. Don't expect any more elaborate depiction of the relationships between the individual members of the special group, that's not the point :)) A thrilling, fast-paced, shocking, and technically brilliant work in every aspect. 95% (31.01.2010)