Brothers

Jim Sheridan approached it cleverly. He doesn't turn the cold atmosphere of the original film into emotional blackmail, but still doesn't want to immerse the viewer in the same filth as the characters. He maintains a reasonable distance with a creatively crafted soundtrack and warm camera work, and surprisingly wins the battle against comparison to the original. The original Brothers and their all-encompassing depression lost strength at certain moments, but here the irretrievable loss of idyll due to its more honest depiction is even more fatal. 85% (08/02/2010)

Even though I didn’t watch the Danish original, I was able to figure out how the story would develop after ten minutes or so, and that’s pretty much all I can criticise Brothers for. A strong topic, excellent direction and brilliant performances by the main trio. Some of the final scenes strongly reminded me of last year’s performances of Leonardo DiCaprio and Kate Winslet in Revolutionary Road. Maguire’s character gave me goosebumps several times and I can imagine him in a psychological horror film. Strong four stars. (30/12/2009)

The Danish original and the American remake of the same name can serve as an excellent comparison between European and American (specifically Hollywood) cinema. The European version tends to be more raw, not shying away from controversial topics, and is able to film them in a controversial way. The American version, on the other hand, films the same themes more pleasingly and tames the edges. Both films deal with the aftermath of wartime trauma, but while the Danish version is merciless towards its protagonist, gradually stripping him of everything, including hope, the American version is watered down and lacks the courage to thrust its characters into irreconcilable conflict. The family crisis is actually caused by a misunderstanding and is resolved in a compassionate way leading to forgiveness. Nevertheless, I would not condemn Sheridan's version because the Danish film is burdened by their adherence to Dogme 95. Like any dogma, it restricts, flattens, and irritates. The American version is simply more cinematic, more colorful, and features internationally acclaimed stars. However, I also have a complaint with the American version in that Tobey Maguire and Natalie Portman are too sweet and young for the characters they are supposed to portray. It's as if the producer wanted to sell this serious topic to American teenagers. Natalie looks like she had her children while still in high school, and Tobey, who is supposed to play the older, more mature of the two brothers, would be better suited for the role of a younger, immature troublemaker. And one last thing - as selfish as young children can be in their love, what escalated the family conflict is something they would probably never say in the real world, and certainly not think about at their age. Overall impression: 60%. (31/08/2014)

I didn't expect it to ever happen again, but after all the Ryans, Lists and Apocalypses, my dislike of war has now deepened even further. It’s not complex or strongly patriotic, it’s an emotionally gripping psychological drama that says what it wants to say and still manages to entertain with thoughtful dramaturgy and performances. And if you're a guy and you like Natalie Portman, you've got one more reason to watch. 85% (14/07/2014)

Great acting is what it's all about. Unlike the author of the original version, Susanne Bier, the experienced Jim Sheridan unequivocally opted for a fluent and orthodox melodramatic style – the film Brothers is crafted and tight, is able to hit the first signal precisely, but after watching the film, a strange emptiness remains. The film hides nothing under its pretty facade except for a kind of careful pacifism and simple psychology. The music by U2 goes well with it. The fact that it’s well made and has decent moral appeals is easily interchangeable with ideological neutrality. (07/02/2010)