'Tangerines (2015)' Movie Critics Review

Tangerines (2015) Movie Critic Review
Runtime:     87 min
Production:    
Genres:     Drama, History, War
Countries:     Estonia, Georgia
Languages:     Russian, Estonian, Georgian     
Director:       Zaza Urushadze
Stars:      Lembit Ulfsak, Elmo Nüganen, Giorgi Nakashidze

Tangerines (2015) Movie Review: War in Georgia, Apkhazeti region in 1990. An Estonian man Ivo has stayed behind to harvest his crops of tangerines. In a bloody conflict at his door, a wounded man is left behind, and Ivo is forced to take him in.

IMDB : http://www.imdb.com/title/tt2991224

Reviews By Critics For  'Tangerines (2015)'

Maria Garcia | Film Journal International

Excellent performances from the ensemble cast [...] elevate what is an otherwise theatrical treatment of a timeworn narrative.

Full Review

 

 

Susan Wloszczyna | RogerEbert.com

By the end, Georgian director-writer Zaza Urushadze has performed a small miracle by presenting the insanity of war in such a compact form.

Full Review

 

 

Kyle Turner | Movie Mezzanine

Tangerines ends up being serviceably bleak, but rarely compelling.

Full Review 

 

 

Matt Prigge | Metro

Every time the viewer feels OK to kick back they're whacked them over the head by crude message-mongering or unsubtle ironies.

Full Review

 

 

A.O. Scott | New York Times

"Tangerines" is a modest film, sure of its proportions and clear about its intentions. The key to its effectiveness lies with the actors ...

Full Review

 

 

Joe Morgenstern | Wall Street Journal

This remarkable piece of antiwar cinema honors its theme, and the movie medium.

Full Review

Tangerines Movie Review By MDBReviews

The astonishment selection in the best remote film class at the 2015 Academy Awards, Estonian-Georgian co-generation Tangerines is a strained, moving, nuanced hostile to war show. It might not have lifted the enormous prize, however its incorporation in the shortlist – the first ever for a film from either nation – was the zenith of a wave of goodwill that had been building since its introduction at the 2013 Warsaw Film Festival. The good to beat all accompanied Samuel Goldwyn's procurement of the film for US circulation on the eve of the Oscars. Discharged dramatically on 17 April in New York and 24 April in Los Angeles, Tangerines could include a couple of more domains in the wake of the consideration, in spite of its long timeframe of realistic usabil

It would not be right to exaggerate Tangerines' feelgood element; this is on one level at any rate a war film with a high body tally and an unromantic perspective of man's apparently boundless craving for tribal clash. Be that as it may essayist chief Urushadze has discovered a route into the material that concentrates widespread lessons from an infinitesimally nearby flashpoint. His subject is not simply a now very nearly overlooked Caucasian war – the Georgian-Abkhaz clash that erupted in the late spring of 1992. It's an overlooked point of interest of that overlooked war: the way that several ethnic Estonians who had lived in Abkhazia since the 19th century were compelled to escape to a "homeland" they had never known. It's a path in one such Estonian-Abkhaz town, a country utopia ruled by the citrus products of the title, that gives the film its single are.

Dealt with in a succinct opening caption, what might seem like a challenging ethno-historic background melts away almost immediately. It’s just a premise, allowing Urushadze to hone the drama down to the lean and hungry shape of a humane, philosophical Spaghetti Western. It’s about three men, the pitch might go: two wounded young fighters, bitter enemies, who are saved and nursed back to health by an older man who refuses to take sides. Will they tear each other part once healed? Or will their host’s clear-eyed pacifism prevail!!

Played by the sublime Lembit Ulfsak, a kind of Estonian Laurence Olivier, this more established man is Ivo – a stooped, anxious yet at the same time noble craftsman who lives in the provincial enclave where the entire story works out. Ivo, it soon gets to be clear, stayed put after the episode of the Georgian-Abkhaz war, however a large portion of his family decided to leave. The main other stiff-necked Estonian survivor in the prompt region is Ivo's companion Margus, a rancher who has remained focused he can't endure the prospect that his tangerine yield won't be collected. The current year's yield is abundant to the point that Ivo can barely make the containers sufficiently quic

Part of the appeal of Tangerines has to do with the sense that we’re in a place out of time – just like these two ethnic fish out of water. Furnishings, light fittings, even the radio that brings news of the war – all float in an indeterminate vintage era, and this veneer of fable  makes the war, when it arrives, all the more violent and jarring.

After a jeep chase and shoot-out that leaves three soldiers dead, Ivo finds himself having to care for two wounded fighters – something he does with the same patient absorption that he applies to his woodworking. One, Ahmed , is a Muslim Chechen mercenary fighting on the Abkhazi side; the other, Niko is a young Christian Georgian volunteer. Both, in their different ways, bring the implacable logic of military conflict into a house that has only every known peace; and the absorbing, slow-build drama that follows is a battle of wills between the war-hating Ivo and two men who don’t see why he should waste his time nursing their enemy back to life

Its effect fixed by no matter how you look at it solid exhibitions from its all-male cast, Tangerines is a film about misfortune and having a place, about rootedness and takeoff. Those boxes, prepared for fare, remain in for the populaces that get ostracized and shunted around for the sake of patriotism, additionally recommend the route troopers like Ahmed or Niko permit themselves to despise, and in this way shoot, by making boxes of bias and prattle around the 'adversary'. The disassembling of such mental boundaries does not occur without the incidental constrained script move – and there's a sure showy quality about the one-stop area and a percentage of the dialog – yet the finished result is a rich and enthusiastic film, in which a man confined by the tide of history oversees, for a brief time, to act as minor act of God through the power of strength, empathy and rule.

Certainly, the film's advancement of all inclusive fraternity doesn't appear to stretch out to the Russian fighters who quickly show up close to the end in place, it shows up, to unite the film's three mistreated minorities. In any case that is alright; even a hostile to war film needs its goodies and badd

Tags:
Tangerines Movie Reviews
Reviews: Tangerines
Tangerines Review
Tangerines 2015 Reviews
Tangerines 2015 Trailer
 

Read more »

Drama, History, Hollywood, Movie Review, War,

{[['']]}

In Country (2015) Movie Critic Review

In Country (2015) Movie Critic Review
Runtime:     80 min
Official Site:     http://www.incountryfilm.com/
Production:     Naked Edge Films
Genres:     History, War, Documentary
Country:     USA
Language:     English 
Director:      Mike Attie, Meghan O'Hara
Stars:        Travis Cole, Lucien Darensburg, Charles Ford

In Country (2015) Critic Review: *In Country follows the men of Delta 2/5(R) as they recreate, by choice, the battles of the Vietnam War once each year. Disquieting and provocative, the film asks, "what compels these men to bring this controversial war back to life*

IMDB By 6.4 : http://www.imdb.com/title/tt2795662

In Country Movie Review By MDBReviews 

The reason of In Country—a narrative about a gathering of men who take part in reenactments of the Vietnam War—recommends it will be another The Act Of Killing or, maybe on the off chance that it plays all the more as comic drama, reminiscent of that play Max Fischer stages toward the end of Rushmore. It just so happens to be something else: an investigation of the memories and driving forces that pull at the souls of U.S. fighters and persuade them to go, over and over, to the front l

Co-directors Mike Attie and Meghan O’Hara purposefully and thought-provokingly blur the line between real and fake combat throughout In Country, right from the beginning. The film’s first five minutes focus on Army men dressed in uniform and camo helmets, plodding through tall grass, AK47s cocked as they come upon what appears to be an abandoned Viet Cong camp. One soldier with the words “Ramble On” scrawled across the front of his helmet speaks quietly to camera about how he’s on his second tour and realizes there’s “no end in sight”—at which point, a clearly contemporary-looking red truck drives by his hiding spot in “enemy territory.” It turns out the end is not in sight because it happened almost 40 years ago.

Each one of those men battling and sweating some way or another through the shrubbery, perhaps close to the Ho Chi Minh Trail, are really individuals from troop Delta 2/5(R), a cluster of fellows who burn through one weekend every year inundating themselves in the forested areas of Oregon, volunteering to go to a shockingly legitimate "Vietnam," complete with rifles, tents, and the exact kind of bug repellant utilized back as a part of '67 strapped to their caps. Each member is attracted to this activity for distinctive, yet similarly entrancing, reasons. Some—like Joel Kinney, that "Meander On" warrior who happens to be an enthusiastic gatherer of Vietnam War memorabilia—are intrigued when period and the surge of testosterone and apprehension that originates from playing war. Others are veterans of the later war in Iraq who can't tear themselves far from fight, actually when the fight includes setbacks who are just play-acting at having died. And after that there are the fellows including U.S. Armed force vet Hayden "Bummy" Baumgartner and Vinh Nguyen, who served in the South Vietnamese Army, battling on the same side as the Americans—who really survived the Vietnam War yet feel propelled to r

When an off-camera interviewer, presumably O’Hara, asks Nguyen why he wants to revisit memories that must be bad, he responds, “I don’t know exactly why you said bad memories … I am still whole now, still stronger, when I am with the South Vietnam Army.” Later during the reenactment, Nguyen wistfully describes how the sound of raindrops falling on his poncho tent took him so fully back to his years in Vietnam that he “burst out crying.” For every frightened kid who dodged the draft back then, there are men like these, still happily signing up to serve even when the draft and the war don’t exist anymore.

These guys are so fascinating, in fact, that it feels like In Country could and should have gone longer than 80 minutes so that the movie could delve more deeply into their psyches and provide more context behind how these reenactments were born. This is the rare documentary that screams out for an extended cut, or perhaps to be adapted into an HBO series that’s sort of a meta-Band of Brothers.

The way things are, Attie and O'Hara do a grandly limited, viable employment of depicting the ceaseless dull circle that is military life. Amidst all the strategizing and fake firefights that continue amid this Full Metal Jacket form of a homicide puzzle weekend, the co-executives persistently blend in clasps from the genuine Vietnam clash and additionally individual features shot in Iraq and Afghanistan by re-enactors who as of late served there. Progressively, the footage drains together so flawlessly that it makes a mist of war—both real and imagine that searingly strengthens In Country's point: that our history, in Vietnam and somewhere else, is everlastingly rehashing itsel.




Tags:
In Country Movie Reviews
Reviews: In Country
In Country Review
In Country 2015 Reviews
In Country 2015 Trailer

Read more »

Documentary, History, Hollywood, Movie Review, War,

{[['']]}