The Kingdom

In terms of the writing, it’s very economical, dynamic, and enjoyable to watch without unnecessary rambling. Additionally, it doesn't take anyone's side, meaning that the FBI agents are not machines for Americanism, and not all Arabs are willing to commit suicide for Allah. There is a certain level of political incorrectness, but making a film about such a sharp and current topic is already quite an art in itself, especially with such a high budget, so the director cannot be criticized too much in this regard. And actually, he cannot be criticized either when it comes to the technical aspects. Though that is rather the work of the chief producer Michael Mann, because when it comes to action, it is mostly his style, the typical visual elements, editing composition, and especially the stunning sound and clarity. The action is simply excellent, raw and fast-paced. Above all, the final ten-minute heist is the best action sequence of the year. Yes, better than Bourne. (10/12/2007)

The Kingdom is a technically solid and, with the exception of the bittersweet ending, rather intelligent thriller. Dealing with the pressing issue of terrorism is as important for the film as the spectacular yet realistically portrayed action. In the end, however, it is clear that Peter Berg is more at ease with the action. It’s also a pity that the movie ends at the moment when it finally gets going. This leaves the audience entertained but not satisfied. In time, The Kingdom will become outdated like, for example, Rules of Engagement. (10/04/2007)

Michael Mann has laid his guardian hands on Peter Berg and the result is a quite provocative contribution to the problem of the current sores of the Western world, i.e., terrorism emanating from Muslim countries. Yes, it's all driven by the mainstream, which doesn't allow it to be as biting in some ways as it might like, but the filmmakers still managed to go further than, for example, their colleagues with Blood Diamond. The film's train of thought is mainly that even an ordinary Muslim wants to be a peaceful person whose concerns are his faith and his own family, and that fanaticism is the work of others. Berg manages to imbue these interviews with a fair amount of authorial sensitivity, drawing decent truths about both worlds from the many words spoken. However, in order to avoid falling into boredom, he lets the actors deliver hard-hitting catchphrases and at the end, he serves up some major action that sits the viewer in their armchair in such a way that nothing that could match it this season will stick in the memory. The scene with the car-jacking and subsequent kidnapping is, in my opinion, the most effectively escalating scene of the year, which also ties in with the London station stakeout in The Bourne Ultimatum. As a person who studies the issues in the Middle East and terrorism, I was quite pleased with The Kingdom, but as a casual viewer, I was perfectly settled and entertained. PS: To say that it is mainly the work of Michael Mann is nonsense, if only for the different functionality and emotional impact of some scenes. It's like saying that Spielberg actually made Transformers and not Bay. (10/16/2007)

Total satisfaction. Peter Berg serves up an interesting story that looks at the issues of the Western and Arab worlds in a quite clever way. Visually, the film is top notch from the first to the last second, Jamie Foxx is superb, and the final action set-piece is something that makes you want to take cover from bullets. I can't wait to see it again. (09/14/2007)

I pray that this is not a new filmmaking trend and a question comes to mind: Is everyone really going to unsuccessfully play second-rate Paul Greengrass from now on? The words of an overseas film critic who wrote that Berg invited a "permanently dancing monkey" to operate the camera sound true. Even in static shots, the chaotic shuffling of the camera from side to side, up and down, which, sitting about 10 m in front of the big screen, led to sore eyes and, after half an hour, I had the feeling I had overdosed on Kinedryl. Greengrass owns this filmmaking style, he's mastered it perfectly and gave Bourne an interesting flair. But in your case, Peter Berg, was it really necessary? Because otherwise the actors, led by the charismatic Foxx, were superb, the Saudi realism fantastic and the final action breathtaking in places. If Berg became convinced that his pseudo-documentary approach with a camera unleashed could draw the viewer more into the plot, in my case it completely missed the mark. The last two sentences of the film are great, a simple and yet so apt description of the never ending struggle between the Western world and the Islamic one! By the way, for the first time in my life I had the experience of being in the cinema completely alone! (10/28/2007)