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Clear winner of this year's war films, and for me better than 1917 and Dunkirk (Hacksaw Ridge is a little higher in my heart though). I haven't read the book, nor have I seen the original, I just know that it's an adaptation of a literary classic by Remarque and I think the film stood up to it on all counts. From the very beginning the film thrusts us into the action of the war itself, which I very much appreciate – thankfully there is no hour-long introduction to the characters before the war, everything happens on the fly and thanks to that the film also has a decent pace and never gets boring. Edward Berger has his craft down pat, technically it's a decent work, with epic music that adds to the atmosphere and tension. The characters didn't really grow on me, except for the main one, so emotionally it didn't hit me that much, although it is sad in places. I found it interesting to watch a war film from the perspective of the Germans, usually it's the other way around, so the film is definitely unusual in that way too. I enjoyed the scenes with the General screaming for himself (the final speech was great) and the armistice negotiations on the train were also interesting. There's not a lot of action scenes, though, there are only three epic battles, but since the film is set in a battlefield most of the time, I didn't mind. The highlight is the sequence in the middle where the tanks and flamethrowers come on the scene – you can feel the true despair and horror of war, really uncomfortable. As for the gore, there's not much of it either, but there are a couple of brutal shots (the tank running over probably sticks in the mind the most), so for me really big satisfaction and I would say it’s the best WW1 war film. Definitely an Oscar snatcher here and kudos to Netflix. 8.5/10. (30.10.2022)

Erich Maria Remarque is one of my most beloved authors, one I come back to repeatedly throughout my life, and I have long postponed reading the first German adaptation of his most famous novel and the one most required in school curricula. There were many rumors about an inaccurate or even arrogant revision, so I am now shocked by how good the adaptation is. Not necessarily as the adaptation of a work, but rather as the comprehensive work of the filmmaker. It is precisely in the much criticized storyline of the negotiations over the end of the war that a few words or sentences are used to express the eternal pain that also appeared in books taking place long after the conflict or between the world wars. The minds and thoughts of the heroes mostly only harbor complaints about the unnecessary prolongation of the armistice, which results in the deaths of many innocents. For greater effect, such subjectivity is replaced with infuriating images and feelings of injustice. In the front lines, it is not about which scenes from the book were successfully transferred to the film (although the famous unbearable waiting in the trench with the enemy does not go lacking), but about the atmosphere of damnation, despair, and eternal damage that permeates every minute. I'm ultimately giving this the highest rating despite the omission of the storyline that troubled me the most in the book. In it, the main character returns home for a few days while on leave and realizes that the kind of return he imagined will probably never be possible. That people who have not experienced the battles will never understand the trauma and horror that a veteran carries. Within the condensation of the plot and the insistence on the destructive environment of contact with the enemy, I understand such a change and am happy to look past it. Because the literary work was created almost a hundred years before this film, and the warnings are no less relevant. (12.03.2023)

The repetitive alternation of the heat of battle and the coldness of waiting, the recurring motifs for unimaginative half-wits, the book’s premise stripped of all its compelling scenes, which the film replaces with simple (and sometimes unrealistic) war porn and a completely hollow political storyline. The film fails to approximate Remarque’s insistent humanism except by literally illustrating the conflict of minor and major history, which doesn’t make a lot of sense (the horrors of the First World War didn’t actually consist in the fact that Foch wanted an armistice in six days and the Germans needed to think it over). As an adaptation, this is a disaster, devoid of psychology and with no thoroughly developed characters, and as a film it’s drawn out, transparent and superficial. The versions from 1930 and 1979 had something to them, but this fails even as a stand-alone work. Netflix’s problem isn’t the lack of casting actors of color. Its problem is that its projects lack dramaturgy and thus don’t much sense. (01.11.2022)

I haven’t read the novel, so I’m reviewing this strictly as a war movie. In technical terms, it’s fine. There is nothing to criticise when it comes to the sets, costumes, camerawork or the depiction of the battle and negotiation scenes. However, the detailed portrayal of the characters and, mainly, the dialogue come up short, feeling flat and failing to emotionally engage the viewer. The film lacks a strong screenwriting focus on the personal stories of the protagonist and several other characters. (13.11.2022)

An adaptation that isn't afraid to mess with the very foundations of what is rightly a timeless classic and yet it is the most faithful adaptation possible. An established benchmark of how to adapt the written word into film language (not telling and showing), preserving the message and yet "standing up and not being a mere illustration". Everything is subordinated to the suggestive concept of "you are there with them". The absurdity and futility of the war machine through everyday trench existential horror, which, however, in addition to the horrific scenes (through a war scene, through the simple survival without hope for the future), manages to contrast the humanity and unexpected permeations of normality in spite of everything (officers, timelessness, humanity), often without words; purely by sight, sound, suggestion, music. Yes, you could say that it doesn't build up, it just kind of flows during the last days on the front. That’s not very viewer friendly, but it’s the intention, and it works, without being the same over and over again. It cannot be denied that many of the horrors have already been handled equally impressively by other works (but it is hard to accuse the adaptation of the classic on which everyone is based of being "a bit dated"). This is a film that will inevitably divide, some will berate it because "they messed with my beloved book", others because "we've seen this before and we don't need to do it again", others will bemoan "the non-existent pace". And then there'll be those who won't sleep easy as a result, not because of the explicit depictions of wartime atrocities or the topicality "it was a century ago", but for the overall sense of the confusion of it all, even though it makes do with little; perhaps the mere pilgrimage of a uniform from the front. (29.10.2022)