Good ending, and a nice gradual pace contemplative mood underpins it all. Clooney looks a bit worried in the lead... maybe it's more of a viggo mortensen role, but good on him for getting the film financed. For the most part Corbijn does very well, although it doesn't quite touch the heights of Antonioni's PASSENGER, something it could well have done.
Decent film, but a lot of good work is undone with the convenient plot twists (which remove all practical hurdles) and the self-righteous Americana score. On the latter, director and composer seemed to take heart from John Williams' scoring of AMISTAD, a deadly move for the film.
Great landscapes. Fine performances. Solid direction. And moving.
It does feel less than it could have been though, and I think in the end, it might be a bit literal-minded for its own good. It's at its best when it tries to move beyond the literal -- e.g. the passing of the first comrade. Making it more along those lines would have made the constraints of scale less significant.
Not sure about Burkhard Dallwitz's music. It's too much of an old emphatic film score but done within a synthetic framework. The music doesn't feel like it consistently represents the kind of higher ideal that a film like this needs (e.g. artemyev's music in Stalker comes to mind).
A relatively cool perspective on hot-headed affairs, impeccable performances/technique, and an odd grim sense of humour make this one of the best films I've seen this year. I'm not sure I needed the final sequence -- it felt implied by the last scene with Matt Damon before it. Still, my respect to Soderbergh for pulling this off.
An excellent film. It should not have taken me 5 years to get around to seeing it. If HUNGER captures the poetic side of the political imprisonment experience, this captures the infuriating accidental absurdities of it. I don't know how Winterbottom does it - so prolific, such strong command of a range of subject matter. I note he has a co-director here, who I assume was responsible for the doco footage.