München

Steven Spielberg has absolutely everything at his disposal, he can make an epic in no time at all. But, even he must know that films, most films have a soul and that can't be rushed. Why the need to rush this film into screens? For Oscar consideration? If there was a film that needed nurturing and thought was this one. The length is a flaw in itself. It makes it appear self indulgent and, quite frankly,annoying. If one could, and one should, put that aside, "Munich" is a remarkable experience. Tony Kushner and Eric Roth deal with people in all its complexity - a welcome new detail in a Spielberg film - and that gives "Munich" its most powerful aspect. Eric Bana is extraordinary and the humanity of his gaze is confusing and recognizable at the same time. His crying at hearing his child's voice over the phone is as real as his hardness when he massacres his targets. The controversy raising after the first public screenings seems pre-fabricated by a marketing machine. The questioning of Bana's character and the appalling nature of revenge can't be controversial it's at the base of human nature. To call Spielberg "no friend of Israel" is as absurd as it is suspicious. No, this movie is a thriller, based on actual events, directed by the greatest craftsman of the last 30 years in a record amount of time. Go see it.

Munich is a well crafted film by the biggest director on the planet. Great pacing, suspense and cinematography. The biggest problem I had with the film is that I've seen it before. A little known film called THE SWORD OF GIDEON. Munich is almost a direct copy from the original. What a shame that Spielberg has to produce a remake of a much better film. Enough already with the remakes. People want to see original stories with fresh new ideas and writers. Why are independent films so successful, because the ones that are well made and tell a good story are box office darlings. It's amazing some Hollywood films have budgets north of 100 million. Just incredible how much money and time is wasted. If you want to understand what happened in the aftermath of Munich, rent THE SWORD OF GIDDEON.

Ever since he has journeyed into serious films (starting with "Empire of the Sun" and then "Schindler's List"), Steven Spielberg has been searching for a method of making violence unattractive to moviegoers. "Schindler's List" was, of course, shocking, but this first attempt at strong violence did not quite have the intended effect. I know that a lot of people (including me) feel saddened by the film, but SL's violence could seem distant at times, like the audience was merely an observer. "Saving Private Ryan" was the second great attempt at making moviegoers detest violence, but this seemed easily dismissed as a war film, showing events that would probably never happen again, like showing violence in a distant universe. Munich is his latest effort, and it shows Spielberg's feeling that his previous films, although progressive, had not quite 'hit the mark'.

The violence shown in Munich is, perhaps, the most brutal realistically intentioned violence ever shown on film. I say 'realistically intentioned' because, like the average moviegoer, I have not witnessed people getting shot or blown up, so I don't know what those events would actually look like. There are many signs in the film that Spieberg is trying to improve on his earlier efforts. The guns in the film are REALLY loud when fired. This has the effect of putting you in the fight, making it more intimate when someone IS shot. The bullet wounds and remains after explosions are quite gruesome. When someone dies in this film, no matter what side they are on, you feel no happiness, no relief or awe. You feel a sense of death, nothing dramatic, just blank and empty. For this reason, Munich is one of the most important films to have come out, and perhaps it is Spielberg's best ('Raiders' is too superhuman to be included on that list). Spielberg deserves the best director for this one.

Gandhi said, "An eye for an eye only makes the whole world blind." What distinguishes justice from vengeance? This echoes throughout Steven Spielberg's "Munich". "Munich" is powerful and perhaps Spielberg's most compelling and thought provoking work. He weaves a tapestry of political and social threads focusing on terrorism and the cost of violence. "Munich" is truly amazing in balancing linear storytelling and horrific acts of violence, demonstrating the impact of the aftermath. Spielberg's "Munich" seen through the eyes of Eric Bana's Avner is a powerful allegory that even in the most just and noble fights against terror we eventually become that which we despise. "Munich" really serves as a reminder. Mossad team leader Avner played by Eric Bana is absolutely riveting as the man who begins this righteous cause only to find that the cost is his soul. Anver asks, "When does it ever end?"

At the 1972 Olympic Games in Munich, Palestinian terrorists brutally murdered the Israeli wrestling team. This political statement was seen around the world and depicted in gory detail by Director Spielberg. Based on the book "Vengeance" by George Jones, the screenplay by Tony Kushner and Eric Roth tells the story of the aftermath of this tragedy. A great Lynn Cohen who plays Prime Minister Golda Meir says, "Every civilization finds it necessary to negotiate compromises with its own values." Poetic words for what follows are a search and destroy mission. The Mossad assembles a team lead by Avner (Bana) to track down and kill with extreme prejudice all those involved in the terrorist action in Munich. 11 names are identified for execution. These executions are also intended to serve as statements. Anver though an inexperienced operative and not an assassin is selected for the covert mission by Ephriam (the great Geoffrey Rush) for being a strong and effective leader of men. The assassin team is composed of Steve (Daniel Craig—the next James Bond), Carl (Ciaran Hinds), Robert (Mathieu Kassovitz), and Hans (Hanns Zischler). They are dissociated from the Mossad, i.e. they technically don't exist.

In accepting the lead, Avner must leave his beautiful and pregnant wife Daphna (a very strong Ayelet Zorer) for what could be a number of years. Carl has his doubts about Avner, telling him that he was chosen because he is a "good soldier". Soon Carl respects Avner for his quiet force and conscience. Attack of conscience and paranoia soon engulf the team as they become entrenched in the world of underground intelligence for hire. Avner pays large sums of money for information on the whereabouts of his targets from Louis (wonderfully shady Mathiew Amalric) and his wealthy Papa (weary and noble Michael Lonsdale). Avner soon finds that whomever he kills is eventually replaced, and that he and potentially his family is now a target for the terrorists he was assigned to hunt down and kill. The realization is that it truly never ends. Bana is amazing as a trapped animal in the scene in his thrashed apartment—searching for weapons of his demise. Paranoia sets in, and the path of justice and vengeance become blurred. In a poignant scene Robert pleads to Avner, "When I lose my righteousness, I lose everything…"

Nothing about "Munich" is easy, though it is simple. I believe that is Steven Spielberg's intention. "Munich" could be tighter in spots, though this does not diminish the movie's power and impact. Eric Bana emerges as the noble hero battling to salvage his own humanity and his very soul. "When does it ever end?" Perhaps even in the current context there is no real answer—maybe what Spielberg is getting at. It is a reminder of our humanity, that even the most righteous cause may cost our souls. "Munich" is truly a powerful movie worth seeing.

Another dip in the Spielberg pool and I come away drenched in emotion. I was a freshman in high school in Texas during the Munich games. I was stunned by the events and understood little.

Today, I am still stunned by Munich and every terrorist act that followed, but I understand so much more and grieve. Spielberg gives us a powerful glimpse into the meaning of home, family, honor, history, ethics, and faith. The movie is not about the Jews and Arabs. It's about human beings. It's about us.

The narrative is driven by our connection to Avner. We watch as Eric Bana opens himself up in a way that the likes of a George Clooney in Syriana only dreams of.

This is a must see.