Syriana

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)

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)

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. (20.02.2006)

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. (17.07.2007)