Az amerikai

George imádja az olasz vidéket, és ennél jobban (szebben) egyetlen film sem mutatja meg, hogy miért van ez így... Corbijn ráadásul elismert művészi hírnévnek örvendő rendező. Első pillantásra izgalom nélküli és szomorú portré egy izgalom nélküli és szomorú bérgyilkosról. Nem első alkalommal megfilmezve, de először ilyen bensőséges módon, akció nélkül, és a nyugtalanság és bizonytalanság állandó érzésével leforgatva. Pont illik a magányos hangulathoz és egy feles whiskyhez. Értékeljük a régi dolgok új felfogását. Az eredetiség ritka (és egyre inkább az lesz) a filmekben. (2011.01.20)

The most stylish film of the year so far. Slow and simple? Yeah, but at the same time very well made, atmospheric and riveting. After some time, I’m raising the rating from four to five stars, the experience grew in me. Very nice alternative. Edit: I bring it back down to four, those five stars were too much :) (2010.12.14)

A few reviews say something like “like one of Melville’s movies"; which is more than accurate, but they fail to specify whether this is “like one of Melville’s worse movies" or “like one of Melville’s better movies". In my opinion, I simply add that The American is “like one of Melville’s best movies ever". In fact, it’s so good that it can stand up for itself and no such undignified comparisons are necessary. (2011.11.20)

America trying to be "European" once again. Since it can lean on the charm of Italy, it didn't turn out too badly. The movie was a bit too melancholy for me though. Clearly this film is more about taste and will be welcomed by a slightly older generation. It gets 3.5 stars. (2011.04.23)

I wouldn't say it's a fundamental film of today's era, but considering the significantly different reviews from users, it's a clear sign that a certain part of the fans demands a return to the film style of the 70s, which included a significant stream of content-experimenting creations, not based on plot but on atmosphere, acting, symbols, and hints. The American reminds me of the arthouse thrillers of the French New Wave, and I remembered Godard's film Breathless while watching it, where characters without a past also appeared and the audience clearly felt that they had no future either. Fans of dynamic action and a packed plot will definitely not be satisfied with The American, but those who want to enjoy playing a game with the director and top-notch acting may be content. Personally, the screenplay disappointed me a bit, as I expected more polished and fundamental dialogues, for example, between Jack and his psychological counterpart, the local priest, or between Jack and his successor Mathilda. The love story between a contract killer and a local prostitute is also a bit cheap. Overall impression: 75%. (2011.03.09)

The American seems somehow not anchored in time. It could easily have taken place sometime during the seventies or eighties and it would have worked just fine. Simply old school. Beautiful camerawork, Corbijn’s solid directing and excellent Clooney. Violante Placido is so beautiful it hurts. I have the biggest problem with how interchangeable the whole movie appears. In reality, it’s somewhere between 3 and 4 stars, but maybe I’ll change my mind after I watch it again. (2011.07.29)

A film with an average screenplay, but with excellent direction that relies primarily on the drive and style of crime movies from the seventies. This is reflected in the location where the story takes place, the simple visual stylization, the straightforward plot, and the laconic main character, as well as the austere and rather raw action scenes without unnecessary hi-tech additions and other frills. Clooney surprises in a role where he hardly smiles and doesn't have his typical manly outbursts. The ending is somewhat “artistic”, but that is probably the least important thing. It has style, and I appreciate that. (2010.12.24)

A really big surprise. While the text on the DVD cover called for some kind of action spectacle, the trailer suggested a much more intimate and atmospheric story, and I was hoping that's what The American would be like. It was. George Clooney is great. Actually, not only that, he's more brilliant than ever. He inhabits the skin of a hitman perfectly, playing the quiet, slightly paranoid man in such a way that you believe he really can make a silencer out of a few bits of junk from the garage and that he is a sharpshooter par excellence. That’s the first huge plus. The second reason I liked The American so much is the style in which it is shot: very old-fashioned, and I like that. Plus all the beautiful shots of the Italian landscape and the narrow streets of the sleepy town, the believable romantic admixture, the dialogues with the priest... Everything was perfect. A one hundred percent "drama/thriller" film that you will also relax whilst watching. You just can't expect an action flick from it. (2011.07.30)

A chamber film, unconventionally presented and surprisingly low in action, about a hitman who (in classic fashion) hides out in a quiet, backwater European town after a bad deal or because of a potential threat. It's hard to say what the main charm of this film is – maybe it's the confinement to the genre as such, or the poetry of that Italian landscape, which gives a calming and wholesome impression while hiding the murderous bastard, but for your part you kind of wish him that calm because he's a tremendous likable guy. Artful, hypnotic, refined. And the romantic storyline was nice. (2013.01.03)