The American

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)

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)

An art film set in a beautiful, forgotten Italian town, with stunning, sometimes almost panoramic cinematography capturing the local landscape. And I shouldn’t forget the intriguing plot with a nearly perfect Clooney playing the role of a killer. All in all, it sounds like an ideal film, so let’s summarize: Most people found the film slow and boring, but this was the director's and the film’s creators' intention. The contrasts worked perfectly here; the images of Italy have a nearly medieval feel, and the viewer feels somewhat safe, then suddenly BANG and CRASH, and the idyll is shattered (living nature vs. the life of a killer). The characters were also given attention, with no flat personalities but individuals with clear motivations and well-developed personalities. The brooding Clooney is a perfect character; he himself doesn’t even know whom to trust, and the dialogues between him and the priest are convincingly believable. I liked that he could quickly shift from rather friendly behavior to a feared opponent you wouldn’t want to cross paths with. I might point out one thing: I still don’t understand why they were after him in the end; I missed the reason for that. Otherwise, the ending was well-crafted, with some violence included. I don’t understand the local ratings. I give it 81%. (2018-08-16)

George Clooney just loves the Italian countryside, and no other film better illustrates the reason for that (or in a more beautiful way)... Anton Corbijn is a director with renowned artistic skills. At first glance, The American is quiet and sad portrait of a hit man who, at first glance, is also quiet and sad. It’s not the first time we have seen such a story, but it’s the first time it has been filmed in such an intimate fashion, without the need for action, but with a constant sense of restlessness and uncertainty. It is a great fit for a lonely moment spent over a glass of whiskey. Let us appreciate new views on old things. Originality is (and increasingly will be) rare in films. (2011-01-20)

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. (2011-11-19)