Syriana

Everything is connected. The problem with Syriana lies not in the topic, nor in the actors, nor in it the fact that it is so uninteresting. And definitely not in the fact that Stephen Gaghan demands from his viewers a certain amount of knowledge and desire to get right inside this movie. The only, unfortunately fundamental, problem with Syriana is that it doesn’t seem like a movie. Gaghan couldn’t define his priorities and tries to put everything into this. Which is very damaging for the movie, because despite how outstanding some of the storylines are, others are simply boring. On the other hand, these rather mixed feelings about the movie are made up for by the perfect ending. As a screenwriter, Stephen Gaghan has a lot to say, but as a director he doesn’t (yet) know how to present things like a regular movie experience with all the trimmings. (17/07/2007)

I could start with the question of why screenwriters and directors insert so many film clichés into films - it is simply because they are proven and effective. Syriana is a case of a film that systematically avoids clichés, and so many film fans have a problem with it despite its undeniable film qualities and message. You can argue a hundred times that a film like Gomorrah depicts the real world of the mafia and, on the other hand, famous mafia films like The Godfather and others are actually fairy tales for adults, but for most film viewers, Gomorrah will be indigestible due to its down-to-earth nature and disillusionment. While most films are deliberately focused on creating an impact to achieve maximum commercial success, Syriana deliberately avoids being flashy, and it doesn't make it any easier for film viewers because it juxtaposes several storylines that intersect only in the very end and includes a canvas with numerous characters in which anyone can get lost. Even scenes of torture or action conflicts are not filmed to shock or squeeze out emotions, they simply observe the development of events from a distance. It is definitely not a boring film - for example, the scene of the car convoy assassination, where the viewer eagerly awaits the inevitable second by second, can rivet their eyes to the movie screen or the monitor. It's truly not a film for everyone, and fans of popcorn flicks probably won't appreciate Syriana, but it more than satisfied me with its analytical perspective on the cynical world of the oil trade. Overall impression: 80%. (06/03/2011)

Just a little statistic by way of introduction: As of 02 March 2012, the reviews of Syriana contain the word "boring" 13 times, the adjective "derivative" 22 times, the label "complex" 14 times, 10 users call this film "incomprehensible", and 6 users call it "confusing", thus enabling me in my elitist sensibilities. Not in the sense that I would just eat it all up and fully understand it, but in the fact that the film made me read the extensive breakdown and simplified explanation of the plot on IMDb, not to mention the six cigarettes smoked over Wikipedia, which was probably the point. Syriana is challenging. It doesn't introduce the issues, it doesn't explain the terms and connections, and the characters don't have a backstory but only paint one behind them as the film progresses. The audience-identifying element, George Clooney's anachronistic agent, gets his ass handed to him (figuratively and literally) in every other scene throughout the film, and though he was once an ace in clearly divided Middle Eastern politics, he painfully discovers that the tightrope of the Middle East as he knows it has been shredded into hundreds of tiny threads. In the 80s, the parties to the conflict were divided into A, B, and C, only to nowadays use the entire alphabet, even with accents. _____Syriana tends to be depressingly cyclical, but this is disrupted by the storyline of the Pakistani boys and their great Arab buddy with the bomb and the ball, who is the only one clearly oriented to his goal, but also the most understandable in his portrayal, and thus the motivations of the suicide bombers are the clearest thing about the film. They have a clear start and goal, which turns them toward the viewer. The purpose of the film, then, IS to be at first glance an incomprehensible mix of subterfuge, corruption, insiders, and interventions so as to grasp the sad reality of the Arabian peninsula and the unpredictable power of an exploited and terror-prone Arab nation (albeit in this case, Pakistan). ____ In terms of form, Syriana is practically perfect, which is mainly due to Elswit's cinematography (one of the best cinematographers at present), excellent performances, and perfect casting. Mark Strong gives you goosebumps, even when he's not ripping anyone's fingernails out, and in general I consider the whole torture scene to be the highlight of the film. Matt Damon, on the other hand, is a classic suburban careerist with a family, shedding his illusions, which suited him perfectly typologically (the dialogue with his wife at the fountain is simply brilliant). Syriana is perfect, and will be particularly appreciated by people who watch movies and don't nibble at their ears, do the ironing, and wait for George Clooney to shoot the cunt to shit in the finale. (02/03/2012)

Mature in its opinions, Syriana is an intelligent political thriller involving the business machinations carried out among oil tycoons. However, most of the connections escape ordinary viewers (i.e. those who are not familiar with the given issue) and only the decent atmosphere, the cast and the impressive ending are memorable. (19/02/2006)

Exactly the kind of film that pontificates on a very pertinent and topical subject but in a completely uninteresting way. Too many plot lines that somehow fit together in the end, but at the same time cause almost certain viewer death. As a political study of international relations focusing on the oil industry, this could work quite well. It's too convoluted a subject for a feature film which is also portrayed in an extremely unimaginative way. [50%] (07/02/2022)