One can't deny its seriousness and quality.
The Grey Zone (2002)
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Reviews Counted:80
Fresh:55
Rotten:25
Average Rating:7/10
Consensus: A grim and devastating tale of the Holocaust.
Rated: R [See Full Rating] for strong holocaust violence, nudity and language
Runtime: 1 hr 48 mins
Genre: Dramas
Theatrical Release:Oct 18, 2002 Limited
Box Office: $186,080
Synopsis: Writer-director-actor Tim Blake Nelson presents THE GREY ZONE, a relentlessly bleak drama that uses one of history's most incomprehensible calamities to address the ultimate question of human... Writer-director-actor Tim Blake Nelson presents THE GREY ZONE, a relentlessly bleak drama that uses one of history's most incomprehensible calamities to address the ultimate question of human survival. Based in large part on Miklos Nyiszli's book, AUSCHWITZ: A DOCTOR'S EYEWITNESS ACCOUNT, THE GREY ZONE is set in the nightmarish world of Auschwitz in the 1940s. The film tells the brutal tale of the twelfth Sonderkommando unit, Jewish prisoners who were granted a few extra months of life in return for their services in helping with the genocide of their people. While organizing a revolt against the Nazis, a group of Sonderkommandos (played with ferocious intensity by David Arquette, Daniel Benzali, David Chandler, and Steve Buscemi) discover a young girl who has somehow managed to survive the gas chamber. Risking their lives, they team up with a fellow Jew, Doctor Nyiszli (Allan Corduner), to revive the fragile youngster and redeem themselves in the process. Nelson's excruciating drama is all the more unsettling for its unflinching honesty. By placing his characters in a world suffused with death, he creates an unbearable scenario where every decision determines the fate of dozens, if not hundreds, of innocent lives. THE GREY ZONE also features deeply impassioned performances by Harvey Keitel, Mira Sorvino, and Natasha Lyonne. [More]
Starring: David Arquette, Daniel Benzali, Steve Buscemi, Allan Corduner
Starring: David Arquette, Daniel Benzali, Steve Buscemi, Allan Corduner, Harvey Keitel, Mira Sorvino, Natasha Lyonne, David Chandler
Director: Tim Blake Nelson
Director: Tim Blake Nelson
Screenwriter: Tim Blake Nelson
Producer: Christine Vachon, Pamela Koffler, Tim Blake Nelson
Composer: Jeff Danna
Studio: Lions Gate Films
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Reviews for The Grey Zone
From both a great and a terrible story, Mr. Nelson has made a film that is an undeniably worthy and devastating experience.
This film is difficult to watch for the inhumanity it depicts, but important to see for its factual elements and the reminder of both the difficulty and importance of maintaining one's humanity.
Though there’s a clarity of purpose and even-handedness to the film’s direction, the drama feels rigged and sluggish.
This is a subject that must never be forgotten or glossed over. A film such as The Grey Zone serves both art and history in helping to ensure that will never happen.
Nelson ... invests this unusual Holocaust drama with dramatic intensity that in no way cheapens its subject matter.
An undeniably moving film to experience, and ultimately that's what makes it worth a recommendation.
The film's clumsiness detracts from the solemnity of the story and makes even decent actors such as Harvey Keitel and Steve Buscemi look bad.
Nelson's brutally unsentimental approach ... sucks the humanity from the film, leaving behind an horrific but weirdly unemotional spectacle.
Holocaust films are problematic, period. The Grey Zone is, sadly, more evidence of the qualities of silence.
This is a remarkable achievement in filmmaking that managed to push the tale of the Holocaust into new realms of abhorrence I didn’t think were possible after the masterpiece of Schindler’s List.
An extremely difficult but worthy film, whose true horror lies in the certain knowledge that however brutal it may seem, the reality of Auschwitz was worse.
The more realistic The Grey Zone pretends to be, the more its unrealistic elements stand out.
Painful, horrifying and oppressively tragic, this film should not be missed.
It isn't just that there's something unsettling about a film that aestheticizes a crematorium; it's that there's something trivializing about the very effort.
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September 13, 2002:
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