Syriana

A disturbing look at the subject of the oil trade, which is not afraid of an incorrect view from all possible angles. In a convoluted system of names, corporations, and relationships, Gaghan demands the viewer's utmost concentration, for which the more perceptive will be royally rewarded. Whoever wants to, go ahead and bitch about the emotional coldness and overall lack of compactness. But this is a tough business that is difficult to understand, so only the toughest people will win. From now on, every time I fill up my tank, I remember how much "dirt" is actually floating in it. (14/01/2009)

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)

The Middle East and the East further beyond the Persian Gulf continue to be very pressing issues that afflict the population and, of course, politicians. How to respond to the terrorist threat, what tools to use? And what about the people, our own people, who have done quite dirty work for the government but are becoming at least inconvenient for further progress? Some government practices are simply unjustifiable, but all the more reason to know about them. The film "Syriana" shows what can happen to people if they pursue goals they believe are in the nation's best interest. But is it up to a select few to recognize and decide this? The question is quite unnecessary, because that's just how things work. We don't know what the government does with individuals, we only know what it does for the entire nation. Agents don't have it easy, not only because their enemies can do as they please with them, but sometimes they can't even rely on their closest allies. George Clooney finally got a role in this film that earned him an Oscar. It's a beautiful example of how a TV actor can become a respected actor, but also a creator, because he is also a director and screenwriter, and he has nominations for an Oscar in both categories. The role suited him perfectly, but he doesn't have that much space here. His performance in the film also depends on the fact that he has gained some weight and learned foreign languages. I have to say that he didn't impress me otherwise, but I don't think it's because of his performance. "Syriana" in general did not sit well with me, mainly because I haven't been enjoying political films lately. Perhaps I should save them for a more suitable mood. More: http://www.filmovy-denik.cz/2012/11/sahara-stormbreaker-syriana-andelsky.html (02/03/2013)

In the gravity of its message and in its structure (directly or indirectly intertwining storylines) Syriana is very reminiscent of Traffic, except that director Stephen Gaghan (the screenwriter of both films) has swapped drugs for the strategic commodity around which the whole world revolves, oil. I don't deny that when I first saw it I got lost in the story of the merger of Connex and Killen, in the jumble of names and facts, but the fates of Clooney's CIA agent, Prince Nasser and the two Arab boys were very interesting and captivating nonetheless. Gaghan doesn't mince words, he doesn't spare the CIA, his country's foreign policy ("When a country has five percent of the world's population but does fifty percent of its military spending, then the persuasive powers of that country are on the decline."), he points out corruption, he touches on the issue of Islamic fundamentalism, but the problem is that his narrative comes across as somewhat cold and distant, which may put some viewers off. But I am able to forgive a film that has an idea, an ambition to convey something important and, moreover, you can feel honest filmmaking (cinematography and design with suggestive Arabic realities). PS: Clooney is no longer the one who, in the words of Steven Spielberg, twitches his head like a pigeon, he is pleasantly surprising with his artificially mature expression, he is becoming a great actor. (30/08/2006)

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. (18/07/2007)