VividSimon Simply Perfect

Matialth Good concept, poorly executed.

Listonixio Fresh and Exciting

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

gradyharp What more can a man donate than his child?' Hans Fallada's novel 'Every Man Dies Alone' has been adapted for the screen by Achim von Borries, Vincent Perez and Bettine von Borries: Perez also directs this mesmerizing film about resistance in Germany during Hitler's reign in World War II. Many films and books have been written about the holocaust, the obliteration of the Jews and the gays while Hitler's nightmare raged, but few have addressed the ordinary citizens of Germany - Berlin in particular - who did not align with the Nazi regime but instead quietly resisted in the only manner available: courage and secretive acts of rebellion.In 1940, German soldier Hans Quangel (Louis Hofmann) is killed in action during the French campaign. His parents, coffin maker Otto and his wife Anna (Brendan Gleeson and Emma Thompson), are devastated by the loss, unable at first to even communicate with each other, and their crushing grief is placed in strong contrast to the joyful hysteria at Germany's victory. Deciding that Fuhrer Adolf Hitler and his Nazi regime are responsible for this tragedy and much more, Otto cannot stand by any longer. As such, Otto begins to create handwritten cards denouncing the regime's abuses and lies, which he secretly deposits throughout Berlin while a disillusioned Anna insists on helping him. As the subversive cards pile up over the years, police detective Escherich (Daniel Brühl) is tasked to track down the ones responsible for the anti-Nazi cards while being pressured by his increasingly impatient SS superior (Mikael Persbrandt) for an arrest for this "treason," regardless of actual guilt. As the stakes rise even as Nazi Germany's day of reckoning approaches, Otto and Anna, quietly protective of endangered Jews (Monique Chaumette) are determined to spread the truth regardless of the odds even as their opposition awaits the fatal mistake that could doom them. The entire film is wondrously underplayed - cinematography by Christophe Beaucarne, musical score by Alexandre Desplat - by the gifted actors Gleeson, Thompson and Brühl and the result is a near overwhelming sense of sadness and honor for those souls who had the courage to resist Hitler's horror. It is a very fine film that deserves a wide audience - especially now.

bob-the-movie-man Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called "fake news", here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine. After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,"Harry Potter and the Goblet of Fire") and Anna (Emma Thompson, "Saving Mr Banks") turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that's no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are 'alone in Berlin?After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto's carpentry company is being encouraged "by the Fuhrer" to double and triple their output… of coffins. More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanour and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl ("Rush") as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don't see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto's mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but…. I can't finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. "Small" films like this tend to rather disappear into the woodwork for Oscar consideration, but here's a soundtrack that I think should be considered: (but what do I know… when "Nocturnal Animals" wasn't even nominated in one of the Oscar crimes of the century!).In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I've seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos ("Amour"). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads. (For the full graphical review please visit http://bob-the-movie-man.com. Thanks!).

adonis98-743-186503 Berlin, 1940. Working class couple Otto and Anna Quangel receive the news that their only son has lost his life in the battlefield and decide to resist the Nazi regime in their very own way. Soon the Gestapo is hunting "the threat". Although the performances of Brendan Gleeson and Emma Thompson are very good it's not enough to hold a movie that is simply bland and just the same old, same old kind of story plus some pretty good actors are going wasted and as usual Daniel Brühl and even Rosemary Harris that for some reason is not mentioned here but overall very disappointing movie with some pretty great and talented actors. (5/10)

CineMuseFilms War films are stories writ large about aggression between nations. Few of them explore small-scale human undercurrents of suppressed dissent inside the countries at war. Alone in Berlin (2016) does this by looking at an ordinary working-class couple and their compulsion to express feelings about Hitler's dictatorship at time where dissent meant certain death. It is also an essay on parental grief struggling to voice its pain of loss.Based on real events, the story opens in a small flat in Berlin where Otto Quangel (Brendan Gleeson) and his wife Anna (Emma Thompson) learn that their son has died in battle. In a long marriage that is under strain, the news pushes them further apart as they cannot console each other in grief. Otto had encouraged his son to join the Nazi army and now Anna blames him for their loss. Desperate to voice his rage against Hitler's regime, he painstakingly writes postcards and secretly leaves them on stairwells and doorways where they can be seen by passers-by: he calls them "small grains of sand in Hitler's machine". Initially he keeps Anna away from his dangerous mission, but she insists on being involved and they both become clandestine resistance fighters whose weapons are simple messages about the evils of Nazism. They manage to write and distribute over 260 cards despite extensive investigative efforts to stop them. In the process, they resurrect their marital relationship. After almost two years of card-writing they are caught and together face Nazi justice.This film has two parallel narratives that start in opposition and end in convergence: one is Otto and Anna's actions, the other is the investigation. The first is focused on the smallness of the couple's actions in contrast to the enormous risk they are taking, like a pair of mice squeaking at roaring lions. The filming, colour palette and period setting are drab and lifeless; the atmosphere is paranoid with suspicion and mistrust; and the acting is subdued and understated. Brendan Gleeson and Emma Thompson are actors with broad performance repertoires but here they are minimalist in expression and Spartan in dialogue, with much being conveyed through furtive glances or avoided eye-contact. It is a slow-moving story, observant of small details in an alienated world. This has the effect of amplifying the intensity of Otto and Anna's actions. Close-ups of a pen leaving a trail of outrage on a small white card become powerful portraits of bravery that are ultimately futile as most of the cards were handed in to authorities. The couple's nemesis is a young German investigator (Daniel Bruhl) who pursues his work with ideological fervour for the Fuhrer but whose success turns into the film's most devastating moments of despair.This is a joyless story about humble heroism. Otto and Anna are emblematic of ordinary people dealing with tragedy and anger inside a world of fear and danger. Far from being mere victims, their small protests seriously unsettled the Nazi hierarchy and the closing scenes are a tribute to the power of their "small grains of sand".