The American

The most stylish film of the year so far. Slow and simple? Yeah, but at the same time very well made, atmospheric and riveting. After some time, I’m raising the rating from four to five stars, the experience grew in me. Very nice alternative. Edit: I bring it back down to four, those five stars were too much :) (14/12/2010)

A few reviews say something like “like one of Melville’s movies"; which is more than accurate, but they fail to specify whether this is “like one of Melville’s worse movies" or “like one of Melville’s better movies". In my opinion, I simply add that The American is “like one of Melville’s best movies ever". In fact, it’s so good that it can stand up for itself and no such undignified comparisons are necessary. (20/11/2011)

I wouldn't say it's a fundamental film of today's era, but considering the significantly different reviews from users, it's a clear sign that a certain part of the fans demands a return to the film style of the 70s, which included a significant stream of content-experimenting creations, not based on plot but on atmosphere, acting, symbols, and hints. The American reminds me of the arthouse thrillers of the French New Wave, and I remembered Godard's film Breathless while watching it, where characters without a past also appeared and the audience clearly felt that they had no future either. Fans of dynamic action and a packed plot will definitely not be satisfied with The American, but those who want to enjoy playing a game with the director and top-notch acting may be content. Personally, the screenplay disappointed me a bit, as I expected more polished and fundamental dialogues, for example, between Jack and his psychological counterpart, the local priest, or between Jack and his successor Mathilda. The love story between a contract killer and a local prostitute is also a bit cheap. Overall impression: 75%. (09/03/2011)

A film with an average screenplay, but with excellent direction that relies primarily on the drive and style of crime movies from the seventies. This is reflected in the location where the story takes place, the simple visual stylization, the straightforward plot, and the laconic main character, as well as the austere and rather raw action scenes without unnecessary hi-tech additions and other frills. Clooney surprises in a role where he hardly smiles and doesn't have his typical manly outbursts. The ending is somewhat “artistic”, but that is probably the least important thing. It has style, and I appreciate that. (24/12/2010)

An art film set in a beautiful, forgotten Italian town, with stunning, sometimes almost panoramic cinematography capturing the local landscape. And I shouldn’t forget the intriguing plot with a nearly perfect Clooney playing the role of a killer. All in all, it sounds like an ideal film, so let’s summarize: Most people found the film slow and boring, but this was the director's and the film’s creators' intention. The contrasts worked perfectly here; the images of Italy have a nearly medieval feel, and the viewer feels somewhat safe, then suddenly BANG and CRASH, and the idyll is shattered (living nature vs. the life of a killer). The characters were also given attention, with no flat personalities but individuals with clear motivations and well-developed personalities. The brooding Clooney is a perfect character; he himself doesn’t even know whom to trust, and the dialogues between him and the priest are convincingly believable. I liked that he could quickly shift from rather friendly behavior to a feared opponent you wouldn’t want to cross paths with. I might point out one thing: I still don’t understand why they were after him in the end; I missed the reason for that. Otherwise, the ending was well-crafted, with some violence included. I don’t understand the local ratings. I give it 81%. (16/08/2018)