Like The Magdalene Sisters, Soraya M offers its audience only those appalling truths they want to know about the evils of an alien culture they are already inclined to look down upon.

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The Stoning of Soraya M. (2009)
Tomatometer
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Reviews Counted:62
Fresh:33
Rotten:29
Average Rating:5.6/10
Consensus: The Stoning of Soraya M. nearly transcends its deficiencies through the sheer strength of its subject material, but ultimately drowns out its message with an inappropriately heavy-handed approach.
Rated: R [See Full Rating] for a disturbing sequence of cruel and brutal violence, and brief strong language
Runtime: 1 hr 56 mins
Genre: Dramas
Theatrical Release:Jun 26, 2009 Limited
Box Office: $519,730
Synopsis:
In a world of secrecy, corruption and injustice, a single courageous voice can tell a true story that changes everything.
This is what lies at the heart of the emotionally charged experience of...
In a world of secrecy, corruption and injustice, a single courageous voice can tell a true story that changes everything.
This is what lies at the heart of the emotionally charged experience of The Stoning of Soraya M. Based on an incredible true story, this powerful tale of a village's persecution of an innocent woman becomes both a daring act of witness and a compelling parable about mob rule. Who will join forces with the plot against her, who will surrender to the mob, and who will dare to stand up for what is right. --© Official Site
Starring: Shohreh Aghdashloo, Mozhan Marno, Jim Caviezel
Starring: Shohreh Aghdashloo, Mozhan Marno, Jim Caviezel
Director: Cyrus Nowrasteh
Director: Cyrus Nowrasteh
Screenwriter: Betsy Giffen Nowrasteh, Cyrus Nowrasteh
Producer: Stephen McEveety, John Shepherd
Composer: John Debney
Studio: Roadside Attractions
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Reviews for The Stoning of Soraya M.
The film, shot elegantly in color but with the dramatic feel of black and white, functions as a parable of power abused by the multitude. It takes a village to turn craven stupidity into fascist bestiality.
Iranian American director Cyrus Nowrasteh has amplified the basic elements of Suraya's story into the worst kind of exploitive Hollywood melodrama, presented under the virtuous guise of moral outrage.
It's so relentless that it's hard to imagine anyone willingly seeing it on purpose.
The Stoning of Soraya M. thoroughly blurs the line between high-minded outrage and lurid torture-porn.
An exploitative propaganda piece that seems to exist for only one queasy reason--to allow Western audiences to witness the sight of a woman being brutally stoned to death in a sequence staged with all the sadistic delectation of a slasher movie.
What keeps us watching is the path -- from outrage, to fear, to resigned martyrdom -- of Mozhan Marno, who plays the blameless victim, and the speak-truth-to-power courage of Aghdashloo as her tireless advocate, desperately looking for justice.
This is less a movie than a blunt instrument, a bit of political parable, a bit more outrage, and nary a scrap of real drama or finesse.
Anyone who thought "The Passion of the Christ," with which this film shares producer Stephen McEveety and star Caviezel, was its own form of torture porn, be forewarned.
The Stoning Of Soraya M. crawls forward in excruciating slow motion toward the inevitable day when sinners cast the first, second, third, and fourth (etc.) stone, stacking the deck at every turn along the way.
It’s a big ol’ wallow in unpleasantness, a film that relies on simplistically patriarchal antagonists and vague, wet-willie cries for intervention.
The Stoning of Soraya M. has such a powerful stoning sequence that I recommend it if only for its brutal ideological message.
The expansive dramatic approach makes sense, even at its most cringe-inducing, as Stoning is a picture created solely to disturb and provoke, not educate. With those goals in mind, the film is a smashing success.
Graphically depicts the horrors inflicted on an innocent woman in an Iranian village, the result of a fatal combination of a patriarchal society, tribal traditions, and Islamic fundamentalism.
The Stoning of Soraya M. functions as a message-movie slasher film.
...there is something condescending and judgmental in the filmmaker's subtext that seems to exonerate Western culture as somehow less complicit in the atrocious murders that it commits against innocent and guilty citizens alike.
The movie suffers from problems that plague other message-social protest films and from helmer's lack of technical experience, but there's no denying of its thematic significance in stressing sexism, barabric punishment, mob rule and mass tyranny.
A devastating (albeit didactic and conventional) indictment of religious extremism as practiced in one Iranian village.
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