A Most Violent Year

An incredible and subliminally affair for ultimate connoisseurs. A film that dominates precisely in those aspects that an ordinary viewer will not notice or register at first glance: the editing, the realistic performances, the chilling atmosphere of 1980s New York in winter, numerous dialogue scenes without music, and a perfectly balanced plot, essentially without a single dull moment. Of course, it doesn't have the same dramatic narrative value, and it's not as epic as the better-rated films of the genre, but as an inconspicuous low-budget alternative to the gangster genre, why not? Essentially, a small drama full of intense emotions and a desire to root for the main protagonist, who initially appears as an unsure person but gradually builds up exactly as intended by the script. Jessica Chastain and Oscar Isaac are fantastic. (25.06.2015)

Nietzsche once said that obstacles and difficulties are the steps by which we ascend to great heights. This is certainly true for entrepreneur Abel Morales, who, staying true to his moral principles, focuses more on the journey than the destination, aided by a blend of cold pragmatism (as seen at the moment he seals the tank at the terminal) and the fiery passion of his wife (an accountant). I wasn’t expecting car bombs or titles involving a hockey club, but I did expect J.C. Chandor to tighten the narrative, give more space to the conflict, and make the audience think more deeply about the motivations of the characters, much like he did in Margin Call. You might think that installing surveillance devices in the company’s trucks would answer a key question, but perhaps they didn’t want to deprive the audience of that one action scene. (13.04.2023)

I kind of knew from the beginning that I wouldn't enjoy this film, but I wanted to give it a chance because of Jessica. In terms of performances, the film is very well executed, but when it comes to the plot, I was just bored. I would have imagined A Most Violent Year to be a bit more interesting and not just a drama about one family or society. (12.05.2015)

The Godfather IV: The Golden Eighties, or an intimate (non-)gangster variation of the “Book of Job” built on an unusually carefully constructed (and wonderfully escalated) disturbing subliminal tension. (11.03.2015)

I expected more from Chandor, his film Triple Frontier gripped me from start to finish. Oscar Isaac also stars here and gave a perfect performance, but the film itself didn’t offer anything that would elevate it to more interesting cinematic heights. I do appreciate films that proceed at a slower pace with minimal action, but such films need to deliver an ending capable of leaving the viewer stunned. This wasn’t the case here. The title is somewhat misleading and probably explains why many people might find the result disappointing. I managed to get past that, but the boredom was relentless. The dialogues were mostly flat and lacked the necessary tension (Scorsese is one of a kind, after all), and surprising situations were as rare as hen’s teeth (or perhaps even rarer?). There was still hope for a well-executed ending, but the film abruptly finished, and I found myself thinking... Why? It’s not a total waste, but I can’t really recommend it. I give it 50%. (28.06.2019)