85

A world without reason - Spielberg, from the first 'revenge' murder, lingers on the faces of both sides. In each account, it doesn't get easier, but the motions become familiar, and Spielberg's dollies, zooms, one-ers etc. are jolting in a formulaic sense; moral muddiness in a constant loop, rising and climaxing, blurring the lines of routine and passion. Basically two hours of Spielberg showing off and yet he confines his skill to a narrative of accomplishment inherently tied to atrocity, with each off-the-cuff set-piece concluding with panache while the images spill with blood and fire, silence and annihilated bodies. That the film's distinct focus on sex - the characters' lack of it and the safety it can provide - is perverted by violence and trauma speaks to the collective pain which clouds up and rains down during the simplest, most primal of moments between people. When bloodshed is currency, there's no other way to pay.

"Every one of the ones who died, died wanting this."

everyone understands the mere futility of revenge but this wants to know how to live truthfully, even just to sit down to dinner or sleep with your wife, alongside the collective guilt of every violent act, if that is perhaps itself a moral compromise.

the most depressing of the ocean’s eleven films

Films Watched in 2020 - Film 210
Letterboxd Season Challenge 2019-20 - Film 32/39

Steven Spielberg’s range is truly impressive, he’s covered so many genres so well over his career and even though I’m not a massive fan personally, I can certainly appreciate his skill.

I watched this over two days and I think it just made an already pretty long film feel even longer. Not many people have seen this and I think that’s a shame as I believe most people would like this more than I did.

movie is about making fattoush salad with your good friends on study abroad

can’t really take out the politics and propaganda to review this as a film alone

free palestine 🇵🇸

Based on a true story. I recommend you to watch all the films with the signature by Steven Spielberg.

Gerçek olaylardan aktarılmış bir film. Steven Spielberg, bu yönetmenin imzasını taşıyan bütün filmleri izlemenizi tavsiye ederim.

eric bana is kinda weird in this one

Feels a bit like Spielberg's take on The Untouchables.
Munich is very different from what I have expected, but I also did not watch any trailers or read anything before. However, it is another masterful movie by Steven Spielberg. The blocking, camera movement and creation of suspense is top of the game. Let me just say phone, truck and a little girl.
The story is written flawlessly and does not only provide thrill, but emotional depth and powerful character arcs. The cinematography looks stunning as well. The only little thing that prevents the film from getting an even higher score is the second half of the second act. There, the film is slightly slower, but nothing to complain about.
Overall, strong recommendation and definitely worth a second screening.
Score: 8/10

an interesting true story stifled by its dense, convoluted approach. good performances and some solid direction but not as compelling as you’d hope.

A well rounded spy thriller from Spielberg. Backed by a top notch performance from Eric Bana. That dude should have been a bigger star than he is because he's a damn fine actor. John Williams returns yet again and also delivers one hell of a score.

Spielberg’s other 9/11 movie. Very subdued and realistic look at spies and the cycle of revenge.

The sex scene of Munich is the frame of Saving Private Ryan—major blemishes in major films, examples of Spielberg’s underlining when it isn’t needed. Still, 99% of both films prove great. Munich, in particular, shows that Spielberg can do anything, as intense a Euro thriller as any. Other than the great 70s roaming-camera setpieces, perfectly edited by Michael Kahn, the best part of Munich is the theme of food & music with strangers. It's what makes us human, that is what our violent tendencies work against. Breaking bread with strangers--the final scene is the right kind of underlining of this, and it's a better example than the penultimate sex/airport cross-cutting sequence.

Spielberg is wrestling with the US’s contemporary war and politics through the lens of the turbulent 70s, and he will continue to focus on his concerns with contemporary politics moving forward in his filmography, culminating in his America Trilogy of the 2010s.

For any other filmmaker, this would certainly be their crowning achievement. A gripping thriller that mixes real events with the director's own thoughts towards religion & guilt. But this is Spielberg we're talking about. It's just one of the two films he made that year. It feels like he can make an endlessly rewatchable film at the drop of a hat. The Master himself.

I really loved how this starts: no title cards, no “8 hours earlier”, no explanations. You’re thrust right into it. Over time, it feels like the message of the movie (which is well articulated and clearly shown) took over my enjoyment of the experience. 

While I enjoyed watching the two more known actors (one of whom I was surprised to see not knowing much about the movie going in) in the assembled team, Ciaran Hinds and Hans Zischler felt like they blended in so perfectly. Perfectly costumed, perfectly incorporated. I wonder if Eric Bana had to go to a really dark place to get in the  mind of this character. 

I liked that there’s no popular music (mostly) despite how easy it would have been to use. Just score. The last frame helped remind me this was made in 2005 and not 1995. Probably more than a little obvious then, but that frame ages well for me.

I'm sorry but the way Spielberg moves the camera in this movie is just pure genius *chefs kiss*. I also love how this movie is set in the 70s and also feels like a movie that was made in the 70s in almost every single way.

Probably Spielberg's grimiest and most paranoid work. Possibly his closest work to The Conversation (albeit with a lot more about the cylical nature of violence.)