Errol Morris has become the Steven Spielberg or Martin Scorsese of documentary filmmaking, with all the positives and negatives that rather facile comparison implies.
Standard Operating Procedure (2008)
Tomatometer
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Reviews Counted:95
Fresh:76
Rotten:19
Average Rating:7.1/10
Consensus: Well researched and finely crafted, Standard Operating Procedure is another gem from master documentarian Errol Morris.
Theatrical Release:Apr 25, 2008 Limited
Synopsis: Master filmmaker Errol Morris turns his keen eye to the Abu Ghraib prison scandal in this intense and provocative documentary. Using interviews with the soldiers that appeared in the now infamous... Master filmmaker Errol Morris turns his keen eye to the Abu Ghraib prison scandal in this intense and provocative documentary. Using interviews with the soldiers that appeared in the now infamous torture photos, Morris strings their stories together with vivid reenactments and striking digital technology for a wrenching look at the events at the prison. With his trademark straight-into-the-lens interview style, it is chilling to see the familiar faces of Lynndie England and Sabrina Harmon as they try to articulate their experiences. The lawlessness and confusion in the prison quickly become evident, and as their stories unfold, the film slowly strips away the many puzzling questions that surround the incidents, exposing a much larger truth about corruption within the US military, corruption that appears to reach far beyond the handful of soldiers that took the fall for the scandal. Morris's reenactments are extremely vivid, and often shot in a beautifully cinematic style. While these techniques make for riveting filmmaking, they are sometimes considered controversial by documentary purists, and some might criticize his detailed recreations of such deeply disturbing events. However, others might deem the reenactments necessary to really bringing home the reality of what happened. Regardless of his methods, Morris does a masterly job of untangling such a complex, twisted story. He shines a glaring light on one of America's most shameful moments and, more importantly, exposes how little we truly know about our military's methods. [More]
Director: Errol Morris
Director: Errol Morris
Producer: Errol Morris, Julie Ahlberg
Composer: Danny Elfman
Studio: Sony Pictures Classics
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Reviews for Standard Operating Procedure
Standard Operating Procedure feels like a historical work in progress, brilliant, thought-provoking but incomplete.
As unappetizing as the subject may seem, Errol Morris' Standard Operating Procedure exerts a hypnotic pull anyway.
Truth is a matter of perspective in director Errol Morris' Standard Operating Procedure, a piercing look at the abuses at Abu Ghraib prison and the aftermath of their discovery.
Standard Operating Procedure catalyzes unexpected and often harrowing blends of outrage, sympathy and sorrow.
[Director] Morris examines the atrocity of Abu Ghraib and the notorious photographs which have come to signify all the tortured secrets contained within that Iraqi prison’s walls.
As powerful as selected moments in the film are, it's not one of Morris' better works.
Throughout the film, Morris wants to get you to consider what was going on outside the frames of the stills, especially in offices going up the chain of command, which apparently approved of torture and humiliation.
Since most mainstream documentaries take a clearly leftist view of things, I liked the fact Morris wasn’t trying to cram his opinion down our throats.
Standard Operating Procedure encourages us not to judge but to try to understand. Or, barring that impossibility, it prods us like the finest documentaries to watch and listen.
Coolly intense...If the film is only partially successful...the goal remains important, and Morris' commitment to it is laudable.
Morris marshals the witnesses, demonstrates that photographs are unreliable evidence, and leaves a verdict to the audience.
[This] fancy, arty, sometimes abstract inquiry (the movie stops to ponder the meaning of photography) into infamous events at the Iraqi prison feels a little flimsy next to the thorough, hard-nosed reporting of Alex Gibney's Taxi to the Dark Side.
Each successive Morris picture seems to grow glossier and more vague, pushing further into abstraction and incessant macro-lens close-ups of ham-fisted recurring symbols. There's also really annoying music.
Morris explores the reality of Abu Ghraib with a visceral intensity that straightforward reportage could never allow.
By returning to the pictures over and over again, Morris shows the power of the photos, how the visual record became the only evidence that carried any power in the media...
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