Avaliações do Metacritic

Contains scenes of brilliance, interrupted by scenes that meander. There is too much, too many characters, too many subplots. But there is so much here that is powerful that it should be seen no matter its imperfections.

Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.

Even in a film that clocks in at a quasi-epic 2 hours and 40 minutes, that's just too much narrative. And matters aren't helped by the fact that Lee, who has never staged battle sequences before, hasn't quite got the rhythms or camera angles right.

Half the time I wasn't sure what Lee was going for in terms of tone, or style, or focus. It was a tricky assignment to begin with, because McBride's novel, and his screenplay, is part socio-historical corrective, part magical-realist folklore, part wartime procedural.

Miracle isn't powerful, it's muddled and diffuse.

Odd too, for a film that wants to correct impression anyone had as to the abilities of black U.S. soldier in combat, are the ethnic cliches about Italians and Germans, to say nothing of rednecks.

When Lee isn't doing cinematic somersaults or mining for injustice, he doesn't seem to know where to put the camera. The logistics of the plot make no sense, and he has nothing to sell but the theme of our common humanity--in which, on the evidence, I don't think he believes.

This is a sloppy stew in which the ingredients of battle action, murder mystery, little-kid sentiment and history lesson don't mix well.

And for all Lee's ballyhoo about racial stereotyping, one might expect him to adopt a less hackneyed approach to his portrayals of Italians and women.

You may begin to wonder if Lee really initiated this project or if it only fell into his hands after Roberto Benigni proved unavailable.