Wordiezett So much average

ChanBot i must have seen a different film!!

Beanbioca As Good As It Gets

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Claudio Carvalho The family man Major Michael Lundberg (Ulrich Thomsen) is happily married with his beloved Sarah (Connie Nielsen) and adores his two daughters Natalia (Sarah Juel Werner) and Camilla (Rebecca Løgstrup Soltau). His younger brother Jannik (Nikolaj Lie Kaas) has just left prison on probation for bank robbery and has issues with his father Henning (Bent Mejding). Michael invites Jannik to have dinner at home with their family. When Michael arrives in Afghanistan, his helicopter crashes and he is considered missing in action. However, he is captured and sent to a camp where he meets the radar technician Niels Peter (Paw Henriksen). After a long period imprisoned, Micahel is forced to kill Niels with a bar to survive. Meanwhile Jannick comforts Sarah and the children and he becomes close to Michael's family. When Michael is rescued, he comes back home emotionally detached and paranoid. Further, he is convinced that Sarah and Jannik have slept together during his absence. When the envious Natalia lies during the birthday dinner party of her sister telling that her mother and Jannik had shagged to upset her father, the disturbed Michael triggers an intense paranoia jeopardizing his family. "Brødre" is a powerful and realistic drama about lives destroyed by war. This film is extremely well-acted, with an adequate cast that gives credibility to the plot led by the gorgeous and excellent Connie Nielsen. The sensitive director Susanne Bier of "Efter Brylluppet" makes another extraordinary movie based on the family dynamics. Jim Sheridan remade this film in 2009, but in a shallow teen "americanization" version. My vote is nine.Title (Brazil): "Brothers"

Roger Burke I saw this gripping and haunting movie in 2005, and spent a long time thinking about it. I began a review, but never finished it because I could not find words adequate to convey the depth of my feelings; even now, I'm not sure that I can do justice to the story (which has been very ably described by many reviewers here already).Thematically, however, it's about a moral dilemma and a man's attempt to justify his decision - initially to himself, and then to others. Hence, in that, the story shares a similar theme as in Sophie's Choice (1982); those who have seen Meryl Streep as the agonist in that film know what she had to do.The twist here, however, is that the soldier faces inevitable death for himself, regardless of the choice he makes. The only question he must resolve is: if I do the right thing, I die immediately - if I do the wrong thing, I die at some other time. But, die I will...and so will another, regardless of what I do. Hence, in biblical terms, the viewer is implicitly asked: to what extent are we all our brother's keepers?Faced with that sort of choice, the soldier has only hope to hold on to - hope that he will not die too soon. And, fortunately for him, the plot allows the 'cavalry' to arrive before that happens.And that event sets up the story of that soldier's rebirth and redemption - all against a backdrop of a wife who thought he was dead, and an ex-con brother who puts his life on the line to help his brother come to terms with the enormity of his...choice, which may or may not have been a crime. I'd not seen any of these Danish actors before. Quite simply, they cannot be faulted in their performances. Technically, the film was well produced and presented. The script was brutally realistic, with the crucial torture scenes in Afghanistan almost unbearable.This is not a film for children. Nor is it a film for adults who cannot accept the truth about what soldiers can face in war.

lastliberal I've been there. I've had the training. I know what you are supposed to do. But sometimes life happens when you are looking the other way. Two brothers - one a criminal and the other a soldier; one a respected member of society, and the other the shame of his family; one just out of prison, and the other off to Afghanistan.Writer/director Susanne Bier presents a compelling drama that examines how people react to stress, and how people can suddenly change when circumstances call for it. It was beautifully shot, it has a compelling score, and it had one of the most beautiful actresses of our time in Connie Nielsen.Nielsen was incredible as the wife of the soldier (Ulrich Thomsen), trying to keep things together when he was reported dead. She had to show even greater strength when he returned damaged by the war. In the middle was the younger brother (Nikolaj Lie Kaas) who stepped in to help with Michael's two daughters.The story of this family and how they dealt with tragedy was compelling. Anyone who has a family member come back from war can relate.It is not to be missed.

groggo Susanne Bier has made a film that is both superb and complex: it explores profound love and disaffection, the transference of senses across a continent, sibling rivalry, severe guilt, familial dysfunction, and, most of all for me, the insanity of war and how it filters down to a single microcosm -- the family -- and destroys it.That Bier manages to do all of this in less than two hours is a major achievement. You would be hard-pressed to find greater acting anywhere in a single film. Ulrich Thomsen as Michael, the ill-fated Danish soldier and father, is devastating in an acting tour-de-force as a man who comes unwound after a soul-destroying experience as a prisoner of war in Afghanistan. Nikolai Lie Kaas plays his presumably irresponsible brother Jannik -- his opposite -- with a rough tenderness and nuance that's very difficult to see these days. His facial expressions when he hears about his beloved brother's fate are remarkable examples of flat-out great acting.I was stunned to find that this was Connie Nielsen's first film in her native Denmark. She's apparently been working in Hollywood. As the middle-class loving wife of Michael, she is the very picture of a tormented but warm and loving mother caught in a crossfire of emotions over the assumed loss of her husband and her attraction to the flawed Jannik. Her performance requires a high-wire act of emotions, but she manages to understate her work, a very difficult thing to do in such a demanding role. She's a beautiful woman, but director Susanne Bier manages to shift the focus from her beauty and concentrate on her plight as a conflicted wife and mother. That's not easy to do.There are many themes at work in Brothers, but the one that really caught me was the deceptively simple way that Bier shows us the shattering reality of war and militarism in general. Behind all the medals and the bravado (I'm a former soldier who's familiar with this stuff), human beings and human relationships are very often profoundly, and irreversibly, affected. Yet we rarely hear about the intimate details of these very real tragedies. There's a lot of hand-held camera work in Brothers, and it seems to flirt with a number of Dogme 95 principles. It's very difficult to make a Dogme 95 film with all l0 principles intact, it seems to me. Even Lars von Trier and Thomas Vinterberg, the prime shakers behind the movement, have drifted away from the 'purity' of Dogme. Despite its severe restrictions, I'm still a basic fan of the movement. After being saturated with so much CGI, it was inevitable that the dialectic was set in motion and Dogme 95 was unleashed in a furious proclamation by von Trier and company. There just HAD to be a severe reaction against the CGI fanatics who INSIST on destroying artistic cinematic expression.Susanne Bier has done a masterful job with Brothers. I was just swept away by the sheer power of this film.