|Paramount Pictures | Release Date: March 16, 2001||CRITIC SCORE DISTRIBUTION|
Though issues of politics and philosophy are touched upon, this is a film about the people inside the uniforms -- a story of human beings under pressure, forced by circumstance to make choices both impulsive and, on occasion, heroic. It's also the new year's single most satisfying movie experience thus far. Read full review
Marred by an unconvincing love triangle and an insincere dénouement, it's a story that nonetheless resonates as much as "Saving Private Ryan does."
Keeps its eye on the big picture even when focusing on the small scene.
Enemy at the Gates, is no "Saving Private Ryan" - but thrilling, bravura stretches make it consistently entertaining, if less than profound, filmmaking.
A physically gorgeous production with a strong, clear conflict at its center. It's grueling but also exhilarating. Perhaps its ambitiousness is the film's biggest problem. Trying for dramatic sensitivity, historical scope, touching romance and shocking violence and suspense, it gets stretched too thin.
Developing late in the film, the romantic subplot has the effect of retarding the war story, stretching it out and adding unnecessary elements of sentimentality and sensationalism.
It's too circumscribed and polite for the story it's telling, curiously deficient in the unexpected.
Law, sexy and crafty as ever, and here with a flinty innocence, proves again he has the star-quality goods.
Enemy at the Gates will pique your interest in the Battle of Stalingrad, but it leaves that interest sadly unsated.
War is hell, war is cruelty, war is toil and trouble, war is just a shot away. But is war a snooze? Well, by the time Enemy at the Gates has run its course — it sure seems that way.
Most of the prime goofiness is given over to Vassili and Konig sharpshooting at each other while the battle rages. The movie's a red elephant.
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